VALLEY OF THE GIANTS

US, 1938, 79 minutes, Colour.
Wayne Morris, Claire Trevor, Frank Mc Hugh, Alan Hale, Donald Crisp, Charles Bickford, Jack La Rue, John Litel, Russell Simpson.
Directed by William Keighley.

Valley of the Giants sounds like a Ray Harryhausen film about prehistoric times. However, the Valley of the Giants is a redwood trees valley in California at the beginning of the 20th century.

The film was one of the earliest films made in Technicolor (as was director William Keighley’s God’s Country and The Woman in the previous year). Keighley directed films generally in black and white although he began The Adventures of Robin Hood with James Cagney but was replaced by Michael Curtiz with Errol Flynn. He made a number of comedies including The Man Who Came to Dinner, dramas like The Street With No Name and finished his directing career with Errol Flynn and The Master of Ballantrae.

This film is particularly relevant for the 21st century. It is a big critique of the crooked lumber barons who wanted to exploit the Californian forests, cutting down the trees and simply moving on. The hero of the film, played by Wayne Morris, is a lumberjack but has plans for reforestation and the preservation of the tree heritage. Quite a lot of sentiments are expressed about the value of the environment, trees and the reality and their symbolism.

Wayne Morris is a hard-hitting hero. Claire Trevor plays the saloon girl with the heart of gold, yet again. Frank Mc Hugh does bumbling comedy. Alan Hale, whose character’s name is Ox, throws his weight around with great effect, stealing the show in many sequences. Donald Crisp is a banker. Charles Bickford is the heavy, the unscrupulous baron who is not afraid to call himself and his colleagues crooks. Jack La Rue is the partner in the saloon.

The film is colourful, brief. The strong Technicolor portrays the redwood forests effectively as well as some of the techniques of cutting down the timber and transporting it? There is melodramatic climax at the end involving the dynamiting of a bridge and the barriers to a dam. The film, set in 1902, is a frontier story with many aspects of the western.

1. A brief entertaining action film? The American frontiers at the beginning of the 20th century?

2. The new Technicolor process, effectiveness? The bright colours? Milwaukee, the tracks to the west? California, the forests? The frontier town? The action sequences? The musical score?

3. The title, the focus on the redwood trees and the valleys?

4. The background of the timber industry in the 19th century, the exploitation of the forests, the unscrupulous businessmen, taking the wood but not replanting? This film’s focus on the environment, ecology, reforestation?

5. The portrayal of Fallon and the businessmen? In Milwaukee, their deals, conspiracy? Fallon going west? His setting up Ed and Lee to run a saloon, a gambling centre for the lumberjacks? His fellow conspirators?

6. Lee, her background in the saloon, partnership with Ed, his unspoken love for her? Her not noticing? Travelling west, the wagon, the felling of the tree? The encounter with Bill Cardigan? The attraction? Her going fishing with him, his giving her the information about the bank note, her passing it on to Fallon?

7. Cardigan, his organisation of his property, the timber workers and their independence, their homes? His being a hero? The port and the transportation of the logs? The encounter with Lee, the attraction, fishing, telling her too much?

8. Fallon and his schemes, his toughs throwing the people out of their homes? Their reactions, banding together, Bill and his leadership? Andy Stone and his support? The weak sheriff in the pay of Fallon? Hendricks and the land deeds and his being in Fallon’s employ? The twisting of the law, the claims and their being discounted? The boat coming in with the land-grabbers, Fallon paying them for their land? His ownership of the land? The irony of Ox, trying to steal the documents, the accidental setting of the building on fire and its destroying all the documents?

9. Bill, his help with the people, Ox and his rescuing the old man, giving him his home? His going to Sacramento, the lawyers and their inability to do anything? His return to fight?

10. The financial situation, Stone and his note to Bill? Fallon and his standover tactics, the inspector from Sacramento? Bill and his urging the workers to gather together, to produce more lumber, to repay the note, get the property back from Fallon?

11. Lee, the confrontation with Fallon, her change of heart, going to warn Bill about the sabotage? Ox not believing her? She and Fingers in the runaway carriage? Fingers and his gambling, taking Lee’s side? Carrying the dynamite? The train carriage on the edge of the bridge? The rescue?

12. Ox, his working for Fallon, turning against him, rescuing the old man, the fight in the bar, his love of a brawl, burning down the office? His helping with the breaking of the dam wall?

13. The lumberjacks, their support of Bill, the tactic to get Fallon’s men out of the way, putting the dynamite on the bridge? The train, the runway, the dynamite exploding, the logs going downriver?

14. The fight with Fallon, rescuing him from the dam, Fallon’s change of heart, moving on?

15. The happy resolution? American individualism and leadership? The community? The glimpse of corporate barons and crooks? The film made thirty-five years after the events? Topical? The relevance to the 21st century and ecology?

TRICK ‘R TREAT

US, 2008, 84 minutes, Colour.
Dylan Baker, Quinn Lord, Anna Paquin, Brian Cox.
Directed by Michael Dougherty.

Trick ‘r Treat is a compendium film, four stories about the celebration of Halloween in a small Ohio town. The stories are interwoven – and the screenplay moves to later and earlier in the evening, in the vein of comic strips which the credits bring to mind.

Dylan Baker portrays the principal of the school, who is a serial killer, lives next door to an eccentric old man, Brian Cox, who is terrorised by a strange peeping tom creature. Baker also stalks a young girl in the forest. She is played by Anna Paquin, one of a group of girls who pick up some dates and go into the forest – and turn into werewolves! There is also a story about a group of teenagers in the town who go to find the truth behind something which has happened in the past, a tragic accident in a rock quarry. Eight children were killed when their bus crashed. There is also a framing story where a wife and husband arrive home, she wanting to put away all the decorations for Halloween which she loathes while her husband goes into the house – and she is attacked by a spirit of Halloween.

The film has its scary moments, some gory moments – but is mild compared with many of the horror films that proliferated from 2000 onwards. The film was written and directed by Michael Dougherty, who wrote a number of films, including Superman Returns, for the producer of this film, Bryan Singer.

1. The popularity of Halloween stories? Audience knowledge of the background? The pagan legends? The spirit of Halloween and destruction? (The lack of knowledge about the Christian origins of the evening of All Saints’ Day?)

2. The town, Halloween Night? The houses, the streets, the quarry, the forest? Creating atmosphere? The musical score?

3. The trick or treat custom, the children collecting, their Halloween masks? Sinister and comic?

4. The story of the couple, the wife not liking Halloween, the husband and his going inside, watching the video? Misunderstanding his wife’s screams? The wife and her cleaning up, the monster, the attack on her, her being put on the posts? The later flashback introducing this story again?

5. Steven, at home, his son calling out, the fat boy and his greediness, his being sick, taken into the house, Steven killing him? His son? The next-door neighbour and his calling out? Steven going into the forest, stalking the girls, the encounter with Laurie, her enticing him, her brutality towards him? His falling in the group of the girls, their glamour, the dead boys, their dates? Laurie and her sexuality, virginity, attack on Steven? The girls all turning into werewolves?

6. The prank story, the group of teenagers, life in the town, banding together, Rhonda the outcast? The prank, going to the quarry, the memories of the accident, the dead children? The terror, the monster? Rhonda helping them?

7. Mr Kreeg, his terrifying the children with the mask over his dog? His lonely life, the interiors of the house, watching television? His seeing Steven in the garden? The children and his gifts? The later monster arriving, attacking him in the house, his desperation? His bandages – and the children thinking that this was his Halloween mask?

8. A variation on the Halloween traditions? The horror stories? For a broader audience than those who just like slasher horror films? The value of a compendium of stories?

SPIDER AND ROSE

Australia, 1994, 94 minutes, Colour.
Ruth Cracknell, Simon Bossell, Max Cullen, Lewis Fitz- Gerald, Jennifer Cluff, Tina Bursill, Marshall Napier, Beth Champion, Bruce Venables.
Directed by Bill Bennett.

Spider and Rose was written and directed by Bill Bennett who made a series of small-budget but entertaining films including Backlash, Mortgage, Jilted. After Spider and Rose he won the AFI awards for his thriller Kiss or Kill. He made some films in America including Two If By Sea with Sandra Bullock and Dennis Leary.

This is a road film in the vein of the very popular Harold and Maude. Ruth Cracknell is a matriarch who has been involved in a car accident and the death of her husband. With heart trouble, she is to be driven by ambulance from Sydney to Coonabarabran for her birthday. Simon Bossell plays the ambulance officer, who has been involved in a sad case where a child died, who wants to leave the job and is wanting to celebrate with a booze-up on his final night. However, he is told to drive Rose to Coonabarabran.

The film is a road movie, Australian style. The pair are an odd couple, sparring, getting the better of each other, experiencing things together, gaining some admiration, finally friendly with each other. The two stars bring the characters to life. Max Cullen, who won an AFI award for best supporting actor, plays a beekeeper who enters into their lives and their journey. Lewis Fitz- Gerald and Jennifer Cluff (Bill Bennetts’ wife) play the son and daughter-in-law.

The film has the scenery of north-western New South Wales, filmed around Mudgee. The film is amusing, tongue-in-cheek ironic, finally warm and advocating people being themselves rather than living up to people’s expectations (or their own).

1. An Australian road movie, Sydney to Coonabarabran, the mountains, the desert, the countryside, the towns, the feel of the road, the cars, truck, tractor?

2. Old and young, echoes of Harold and Maude, antagonism, sharing, friendship?

3. The title and the tone? The names?

4. The initial accident, Rose and her bewilderment, the country road, walking, her husband’s body, her grief? The later flashbacks to the violence of the crash?

5. Rose in hospital, heart condition, cantankerous, swatting flies, her illness, her fears, her memories, her treatment of the staff?

6. Spider on the ambulance staff, his work, the interview with the boss, giving up his job, the past and the flashback to his inability to help the child, the child’s death? The effect on him? Planning his party, the nurses and the girls, his mates, going to get the vodka and the other things for the party?

7. Meeting with Rose, the confrontation, the games they played with each other? One-upmanship? The issues of where to sit in the ambulance, Rose and her comment about carsickness, the clashes with the music, their talk, taunting each other, her being sick, his having to change his clothes, going into the clothes bin? The encounter with Jack, Rose going off with Jack, his search for Rose along the roads?

8. Rose, her age, character, strong-willed, her love for her husband, the limits of her son, the farm, going to her birthday party, carsickness, her being sick in the car, her eating, the swatting the fly at the diner, the lift, talking with Jack, the bees, going to the hives? Her being found? Continuing with Spider, her driving, their crash, the dead kangaroo? The effect, getting a lift, the cantankerous truck driver, outing them? The house, going into the bath, Rose and her lack of inhibitions, Spider and his awkwardness, sleeping, Jack finding them, taking Spider to the hospital, Rose having tended his leg, her background as a nurse? Rose and Jack going off together, Robert finding them and taking her home?

9. Spider’s story, his parents, Brad as his real name, flip style, changing, disliking Rose, liking her after sharing with her, the crash, his leg, her tending him, his independence in the hospital and the nurse putting him in the wheelchair?

10. Robert, his wife, children? Spider going to the house? The meal, the discussion about Rose going to an institution, her reactions? Spider and his telling off Robert and his wife?

11. Rose, her room, the pills, putting on the party dress, Jack arriving, dancing, her fainting, Spider taking her off in the car, his knowing that she was faking things?

12. Rose and her future, the car, driving off – who cares?

13. The credits and Spider arguing with the ambulance man?

14. Light, but strongly-drawn characters, issues of age, family, friendships?

THE WALKING DEAD

US, 1936, 66 minutes, Black and white.
Boris Karloff, Ricardo Cortez, Edmund Gwenn, Marguerite Churchill, Warren Hull, Barton Mac Lane, Henry O’ Neill.
Directed by Michael Curtiz.

The Walking Dead is a very interesting small-budget Warner Bros film of the mid-30s. Boris Karloff had made an impact as the Frankenstein monster in Frankenstein and its sequels. He also specialised in a number of thrillers like this one. Here he plays a man released after ten years in jail who is made the pawn of racketeers in the city. He is a man of great dignity, a musician. He is framed for a murder, executed – and brought to life again through the experiments of Doctor Beaumont (played by Edmund Gwenn). In his new state he seems to have some kind of supernatural powers and has an insight into the group who framed his death, confronting them, and their dying by their own fright or accident.

The film uses the gangster style of the 1930s Warner Bros films as well as the scientific experiments. The film raises issues of capital punishment, gangsters and justice, the ordinary young couple who are Doctor Beaumont’s assistants and who witness the framing of Karloff – but only come to admit this to the authorities at the time of his execution.

Michael Curtiz came from Hungary to Hollywood, made a number of small-budget films before breaking into bigger-budget films like The Charge of the Light Brigade and his Oscar-winning Casablanca.

1. An entertaining film? Showing its age? Whether that matters or not?

2. The city setting, the courts, racketeers and their wealth, scientific laboratories, prisons? The streets of the city? Musical score?

3. The title, the focus on John Ellman, Doctor Beaumont’s experiments, bringing Ellman back to life after his being electrocuted? His becoming something of a zombie, his powers, insights, capacity for instilling fear into his enemies, their deaths?

4. The racketeers, Nolan as the gang’s lawyer? His antagonism towards the judge? Arranging his killing? Trigger and his approach to Ellman, sympathetic, offering him the job of surveillance, Ellman keeping notes? The death of the judge, transferring the body to Ellman’s car? The arrest? Nolan and his smooth talk, the apprehensiveness of the group? Their conspiracy? Nolan’s treatment of Ellman in court, seemingly supportive, letting him be found guilty? Nolan and the aftermath, the confrontation with Ellman? Nolan becoming his legal guardian? Doctor Beaumont inviting Nolan and the others to the recital? Ellman looking at them, their fears, going out?

5. The fears of the racketeers, their plans, wealth, control? Nolan as a crooked lawyer? District Attorney Werner and his knowing this but having no evidence? The group, the recital, their fears, their deaths, going out the window in fear, the shooting, the car accident?

6. Nancy and Jimmy, their work with Doctor Beaumont? Doctor Beaumont and his intensity? His experiments? Nancy and Jimmy, needing the money, to be engaged? Their witnessing the transfer of the corpse, their being silenced, their consciences, telling the truth only at the end? The aftermath, Jimmy and his upset at Nancy’s focus on Ellman? Nancy and her concern? Following Ellman to the cemetery, the final shootout? Her being with Ellman as he died? Doctor Beaumont wanting to question him about what death really was – and Ellman’s comment that it was peace?

7. The law, the district attorney and the prosecutions? His concern, collaboration with Beaumont? Ellman coming alive again, the pursuit of the case? The judge, his decisions, his being murdered?

8. An entertaining and interesting combination of various genres 30s-style?

THE KILLING FLOOR

US, 2007, 94 minutes, Colour.
Marc Blucas, Shiri Appleby, Reiko Aylesworth, John Bedford Lloyd.
Directed by Gideon Raff.

The Killing Floor is a murder mystery, a stalking film, a film with a twist – but for aficionados the villain may be very obvious.

The film is about a literary agent, an arrogant man, demanding on his secretary who moves into an expensive penthouse. He has neglected to read his secretary’s manuscript – and, as the end reveals, he should have because she details the whole plot she has to destroy him, employing some out-of-work actors who take the part of police inspectors and heirs to the apartment. Which means that the film is rather farfetched. However, there is certain dynamism as the literary agent collapses emotionally and in fear, confronts the mystery, and is dismayed, finally, to read the manuscript and find out how he has been tortured and tricked.

1. A satisfying thriller, murder mystery, stalking film?

2. The affluent New York settings, the offices for the literary agent, his expensive penthouse, the streets, the neighbourhoods of New York City? The apartment itself? The musical score and atmosphere?

3. The title, the reference to the penthouse, to the murder set-up and the false photos?

4. David Lamont, his skills, business sense, arrogance? At meetings, with the board? His treatment of Rebecca and her adulation? Offhand, grim? His meeting Audrey, the come-on, the relationship? Audiences suspicious of her? His chasing the man while jogging – and the encounter with Audrey? His work, the visit of Thurber, the visit of Soll, the mystery about the apartment, his details research, the stories of crimes? Receiving the photos of the bloodstained floor? His growing paranoia, panic? Communication with Soll? The phone call, following Thurber? The murder of Thurber and the accusations, the knife? Soll and the confrontation? Their physical fights? Finding Audrey dead? Looking at the tape, seeing the reflection in the window? Going to the apartment, finding the equipment, finding Rebecca? Relying on her for information? The sexual encounter with her, her declaration of love? His return, the meetings, the manuscript, reading the truth about Rebecca and her plan?

5. Rebecca, the mousey secretary, in love? Her manuscript? The advice to write a story about writing a story? Her spying, the elaborate set-up, employing the actors, the murders? The final revelation?

6. Soll, as a policeman, credible? Confrontations with David, the fights, his death? Thurber as an actor?

7. The background of the social life, wealth, affluence, writers? Horror stories? Apartments and socials?

8. The credibility of the story, farfetched, psychologically accurate or not? The destruction of David Lamont?

KABOOM

US, 2010, 86 minutes, Colour.
Thomas Dekker, Juno Temple, Hailey Bennett, Roxane Mesquida, Chris Zylka.
Directed by Gregg Araki.

Gregg Araki back to his former style of small-budget, heightened slices of life, focussing on young adults and their fears, indulgences, sexuality and identity problems. But, now he is older and has the fine Mysterious Skin as part of his CV, giving him a certain recognition and respectability.

He is not after respectability here but would not be against recognition (as he has been by John Waters). This is one of those midnight movies of the past where sense and absolute credibility are not the order of the day – or night. It is a concoction of campus drama, sex exploration, science fiction, apocalyptic madness and more than a Kaboom ending than we might have expected.

Thomas Dekker (one of the dispatchees in the new Nightmare on Elm Street) is Smith, an undergraduate, gay, with a confidante, Stella (Haley Bennett), who keeps him in line with her sardonic quips but who is herself engangled with vamp Lorelei who may or may not be a witch. There is an ‘end is nigh’ character, Messiah (James Duvall from Araki’s films of the mid-90s) who suggests warnings and doom. There are also pursuers with animal masks, a secret sect, abductions and various spies and agents.

It is all tongue in cheek and happy in its silliness.

1. The title, the tone, audience expectations, the Ka Boom ending?

2. The work of Gregg Araki, small-budget films, slices of life, aspects of spoof, sexuality and identity, horror, the blending of all these elements for a midnight show?

3. The introduction to Smith, his initial dream, the corridor, naked, passing his friends, the mysterious women, room nineteen and the dumpster?

4. The importance of dreams throughout the film, hallucinations? Dreams contributing to the plot, Smith’s psyche, the jokes?

5. Smith and his sexuality, gay, aged eighteen? Thor as his roommate, the dream about Thor asking about sexuality? Thor’s relationship with women? His lewd tone? Wrestling with his friend in the room? Smith and his sexual behaviour, at the beach and the encounter, Oliver and the computer video? His friendship with Stella, her struggles with Lorelei? His encounter with London, her needs, friendship?

6. The irony of the ending and the New Order? A sect, agents and spies? Echoes of Jonestown and other sect leaders? Prophesying the end of the world, nuclear destruction, the survival of the New Order? Agents and counter-agents? The role of Smith’s father – and the irony of his having many children, including London?

7. Smith and his relationship with his mother, the phone calls? His study? Interactions with Thor? Going to the party, the redheaded woman vomiting? The encounter with London? Her personality? Sexuality? His sexual experience with her? The dreams, the men with animal masks? Getting the memory stick? The agents disappearing and appearing? His friendship with Stella, her character, ordinary, cynical, helping him? The contrast with London? The computer search for the woman? Finding her in the toilet? The beach and the man, Oliver and the video, the encounter in real life, Smith’s reassurance? His birthday, the sexual experience?

8. His mother, going to her house, the warnings, her abduction?

9. The character of the Messiah, his notes, drugs? The pose, the warnings, his being the agent? With Oliver?

10. The build-up to the chase, the various identities in Smith’s life, their all being agents or counter-agents of New Order? The chase, the crash?

11. The father, his waiting, Smith’s nineteenth birthday, no sun and his pushing the nuclear button? Kaboom?

YOU WILL MEET A TALL DARK STRANGER

UK, 2010, 98 minutes, Colour.
Antonio Banderas, Josh Brolin, Anthony Hopkins, Gemma Jones, Freida Pinto, Lucy Punch, Naomi Watts, Pauline Collins, Anna Friel, Ewan Bremner, Celia Imrie.
Directed by Woody Allen.

The title is what fortune tellers often tell future-hungry clients who are prepared to believe anything. Most of the characters in this Woody Allen confection, filmed in London (a Woody Allen world of writers, artists, publishers and galleries), have created their own fantasies. One does go to a fortune teller. The others tend to poo-poo superstition but are so locked in their hopes and ambitions that they often refuse to see the truth before them. And for anyone wanting an open ending, for most of the characters, here it is. A number of interesting consequences will come home to roost after the final credits!

Many will complain that this is Woody Allen re-cycling stories and issues. Don’t we all!! But, this one is more interesting insofar as it has no real Allen substitute character talking like him (though many will observe Anthony Hopkins as the ageing man who takes up with a younger woman). It is amusing rather than funny, but that has been characteristic of Allen films in recent years.

There is a very strong international cast with performances worth watching. At the beginning and end is the unexpected character of the ageing Helena, who is really the central character. She is played cannily by British actress Gemma Jones, a mixture of angry rejected wife and eagerly superstitious devotee who is in the hands of Cristal (Shirley Valentine’s own Pauline Collins). Naomi Watts plays her generally level-headed daughter whose marriage is collapsing and who misreads the attentions of her boss (Antonio Banderas). Josh Brolin (after W, Milk and Wall Street 2) is her would-be successful novelist husband. But he has his eye on music student (Freida Pinto, Slumdog Millionaire) in a window across the street.

Anthony Hopkins plays the husband of 40 years who refuses to face age and his wife’s ageing and takes up with an escort (Lucy Punch who makes her an unselfconsciously dopey gold-digger).

There are plenty of secrets and lies, Woody Allen style.

1. Woody Allen after forty years of film direction? Perceptions of human nature, relationships, betrayal, eccentricity? Humour?

2. The London settings, recognisable or fantasy? The world of wealth, flats, the streets, galleries and gyms? Musical score, classical, contemporary?

3. The title, the catchphrase of psychics and fortune tellers? Mediums? The background of superstitions, frauds? Getting information, using shrewd insights? Knocks on tables at séances? Roy and his critique, using the title? Sally, supporting her mother, the bluntness of the ending? Believers? Helena and her being absolutely faithful? The information fulfilling her needs?

4. The narrator, the wry commentary, introduction to the characters and situations? The quote from Macbeth about sound and fury signifying nothing?

5. The introduction to Helena, an elderly lady, bewildered, finding Crystal? Crystal and her chummy tone? The sessions, Helena wanting a drink, Crystal and her information, the aura, quotations? Helena’s quest, always quoting Crystal, the ending – happy? The only one fulfilled?

6. Sally and her mother, alienation from her father? Roy as her husband, the flashback to the meeting with her sore foot? Their home life, Roy’s successful novel, taking ages to finish the second, his restlessness, submitting it, his failure? His roving eye and watching Dia? Crystal and Helena and the prophecy that Roy would fail? Roy and his going to meet Dia, Sally not knowing? Going out, flirting, talking? Sally at work, getting the job with Greg, meeting him, attracted? Jane and the plans for their own gallery? Her jobs, trying on the earrings for Greg? His taking her to the opera? Her reticence? Iris as her friend, her talent, Iris and the affair, with the earrings? Confronting Greg, not getting a satisfying answer? Separating from Roy? Exasperated with her mother? Roy and Sally meeting Alfie and Charmaine, Sally’s suspicions? Her wanting a child, desperate?

7. Alfie, forty years of marriage, getting old, exercising, Helena failing and becoming old and his rejecting her? His being isolated in his wealth? Hiring Charmaine as an escort, his behaviour, concern about transmitted diseases? Infatuation, going out, the gifts, meeting Sally and Roy, marrying Charmaine? Their life, going to the gym, buying her things? Her dumb attitudes, her choice of TV? Going to the gym, Ray and the other men, Ray’s decision to seduce Charmaine? Alfie and the taxi, seeing Charmaine, catching her out? The confrontation with Ray, the fight? Her pregnancy, her rationalisation as to the father? Alfie and his dinner with Helena, wanting her back – and her refusal?

8. Dia, the music student, talking with Roy, going out, the meals, flirting? Her engagement with Alan, the difficulties, taking Roy to see her father, the comments on the book? Calling off the wedding, the angers and confusion?

9. Greg, the job, the gallery, his shaky marriage, Sally and the earrings, taking her to the opera, her not responding? His seeing her as a colleague? Iris, her talent, the affair? Sally going to Greg, his inability to respond to her questions?

10. Crystal, her chumminess with Helena, always being quoted? Fake?

11. Strangler, the poker friends? The accident, the man in the coma, the dead man? Roy reading Strangler’s book, admiring it? Thinking that Strangler was in a coma?

12. Roy and his rejection, stealing Strangler’s manuscript, its being accepted, the build-up, the visit to Strangler in hospital – and the truth about his coming out of the coma?

13. Helena, as a clothes adviser, meeting Jonathan, sharing with him, his seeking his wife’s approval for company, going to the séance, her impatience? The reconciliation, the wife giving permission? The happy ending?

14. Human foibles, the film’s critique of superstition, people making their own decisions and accepting the consequences? The open ending?

ABEL

Mexico, 2010, 83 minutes, Colour.
Christopher Ruiz- Esparza, Gerardo Ruiz- Esparza, Jose Maria Yazpik, Karina Gidi, Geraldine Alejandra.
Directed by Diego Luna.

A brief debut film from actor, Diego Luna, friend of Gael Garcia Bernal, who acts as one of the producers.

This is a modest film about a young boy with mental and behavioural problems seemingly caused by his father’s abandoning the family to work in the US and who is not heard from in two years and walks in on the problem and compounds it.

9 year old Abel (a persuasive performance from Christopher Ruiz- Esparza, whose younger brother in the film is his own real life brother – who is also persuasive) has been hospitalised and does not speak. The devoted mother agrees to his coming home in the hope that things could be normal and that he will speak. His younger brother is afraid of him. His older sister is annoyed with him much of the time. Abel watches television – and suddenly makes a breakthrough.

We realise before the family does that he has got it into his head that he is the father and the head of the family and acts the part. There is a lot of wry humour as we see this young boy aping strict and commanding patriarchal rule. Since the doctors advise not confronting or upsetting him, mother and children go along with it. In fact, he is a much better father than his actual father and the children thrive under his tutelage.

The film builds to an anxious climax – but leaves open how Abel is going to get along after he is returned to hospital.

Lots of contemporary Mexican flavour. A first film that Diego Luna can be pleased with and proud of.

1. A Mexican story, family and children? Mental illness?

2. The realism of the situations? The surrealism in Abel’s behaviour?

3. The background of the Mexican town, homes, poverty, roads and taxis, the baths, the hospital? Realism? The musical score?

4. The introduction to Abel, aged nine, in hospital, his breakdown, not talking? With his mother? With the doctors and staff? His mother’s visits and love?

5. The doctors and their advice, Fili as a friend? Abel going home, Paul fearing him, avoiding him in the playground? Selina as a fifteen-year-old, tolerant, intolerant, her angers, answering her mother? Not wanting to be a slave? Abel and his pills, able to sleep – and not sleep, watching television all night? Breaking the television?

6. The portrait of the mother, with her three children, poor, Anselmo abandoning them, her relationship with Regino? Two years of caring for Abel, visiting the hospital every day, love and protection? Home, busy about many tasks? Her work? Selling the TV, the VCR? Her concern about Selina and school? Paul and the squabbles in the family?

7. Abel and his change, beginning to talk, assuming the role of the father of the family, his patriarchal behaviour and demeanour, his being strict, language, body language, manner? With Cecilia, going to her room – and the story about the stork and their having a brother? With Selina, commenting on her marks from school, correcting her maths? Clemente and his admitting his mistakes after ousting him? Sending him messages in Selina’s name? Helping Paul with his drawings, playing with Paul, promising to teach him to swim? Everybody acting accordingly with him as head of the family? The improvement with Selina? Paul and his development?

8. The doctor, accepting the situation, advising them not to confront Abel? The visits, playing Snakes and Ladders, his amazement?

9. Anselmo’s arrival, Cecilia’s reaction? Abel in charge, dealing with Anselmo, the explanation that he was an uncle? The variety of gifts (and the picture of his new family on the mobile phone)? His being made to obey and conform?

10. Anselmo going out with Fili, their talking and drinking, the issue of relationships, Fili and Cecilia, Anselmo and his new family?

11. Abel and Paul, going for the swimming lesson, going through the rail tracks, on the wharf with the containers, searching, getting the taxi, the driver giving him a kiss and his not having to pay? The pool, stepping in the water, Paul on tiptoe, the sudden depth, the possibility of their drowning, the underwater photography? The family, gathering, the new doctor? In the cars, the crash, the police helping, arriving at the swimming pool, frantic, saving the boys?

12. Abel going to Mexico City, to the hospital, Fili and the doctor looking after him? With his mother – and his expression for a quizzical ending?

AURORA

Romania, 2010, 181 minutes, Colour.
Cristi Puiu, Clara Voder.
Directed by Cristi Puiu.

Puiu’s previous film, The Death of Mr Lazarescu, was a fine cinema experience and contributed to the flowering of the contemporary Romanian film industry. Anyone familiar with the earlier film would be looking forward to Aurora.

Puiu has done it again, in the sense that he takes his time with developing characters and plot, spending a great deal of time and attention on minute details of behaviour, with minimum musical score. However, with the theme of death and ambulance and hospital care with Mr Lazrescu, audience attention is willingly given. This time, with the film at three hours, audiences may find the experience admirable but sometimes trying (even often!).

When we have to spend three hours observing closely a character who is enigmatic to the point of an audience not wanting to understand him, taciturn and abrupt in behaviour, who, we realise, as he purchases a gun, has killing in mind, it is very difficult. Puiu plays the central character himself, so it is very much his film.

1. Puiu and his film work, as a director, writer, actor? His film?

2. The intention of a series of stories from outer suburbia of Bucharest? Tales like those of Eric Rohmer? Moral fables?

3. The portrait of Bucharest, apartments and streets, shops, factories, driving around the city, the police precinct?

4. The minimal musical score?

5. The length of the film, its visual style, the long takes, dialogue and silences, a theatrical presentation of performance blending with editing processes? The attitude to detail, minute detail? The effect on the audience, being there, observing the character, judging him or not?

6. The drab colour for the opening, for a drab world? A grey world, morally? Morally ambiguous?

7. The ending and the portrait of a killer? Behaviour, the puzzle about him, his mind and emotions – or not seeing or understanding them? His final confession and statement? The value of spending three hours with him?

8. The opening, the dark, people waking up, the focus on Viorel and Gina? The family, its behaviour, Gina screaming at the children, reprimanding them? The discussion about Red Riding Hood, the grandmother coming out of the wolf naked because the wolf was wearing Grandma’s clothes? Or the wolf getting them from the wardrobe? Gina and her relationship with her husband?

9. Viorel in himself, divorced, his children, his mother and her companion, their visits to his house, new apartment? Decorating, his possessions, discussions with the carriers and taking stuff away, bringing things in?

10. The shower, the flood, Gina and her reprimanding the boy, the father bringing him for an apology, offering to pay?

11. Viorel going to the factory, the clash, getting the firing pins? The long process at the shop of buying the gun, the case, carrying it round?

12. The long shot of his visit to his mother’s apartment block, the mother and her friend, the friend coming down, Viorel not liking him? The clash? Seeing his mother’s home as his home, wanting his room closed?

13. Driving around the city, observing, what was going on in his mind, silent, the house and the testing of the gun, going to the carpark, shooting the notary, the woman there accidentally? No feeling?

14. Searching for his wife, going to the shop, his attitude towards the shop assistants, interrogations, their responses?

15. Going to the school, getting his daughter, the rehearsals, the teacher’s reaction? Dressing her, taking her to the neighbour, the men chatting before lunch, the neighbour and her welcoming the daughter, the questions about what she could eat or not?

16. Going to the in-laws, shooting them?

17. Going to the police, with the gun, confessing? His complaint about the rough search? The indolent police, busy about other things, keeping him waiting, having cups of coffee, the phone call testing the truth, getting his statement down in writing, using a biro? Listening? The invitation for him to write his statement? His detailed and meticulous answers to their questions?

18. The sudden ending – and the future for Viorel?

THE HOUSEMAID

Korea, 2010, 107 minutes, Colour.
Jeon Do- Youn.
Directed by I.M. Sangsoo.

A remake of a 1960 Korean classic (the same year as Psycho), a suspense thriller in the Hitchcockian sense. As we look at the plot with Hitchcock in mind, we may be reminded of many aspects of Rebecca.

There is a mansion, a huge set rather than an actual house, with many lavish rooms for its arrogantly affluent family. The wife is pregnant with twins, the husband a successful businessman. There is a housekeeper who could be a cousin, dramatically speaking, of Mrs Danvers. Into the household comes an eager new servant and nanny, Euny. She likes the little daughter of the house, is charmed by the piano playing master – and is readily seduced by him.

Gossip, hatred, vindictiveness permeate the household – and even an attempted murder, then another attempt at miscarriage. From then on, mania pervades the film until a grim ending (with a corpse unnecessarily and incredibly bursting into flames). Up to this point the film had combined drama, suspense, critique of the selfishly affluent and their quest for power and prestige, but the incendiary moment spoils the ending, even though an ironic postscript tends to return the audience to moral fable realism.

1. The film based on a Korean classic of 1960? The 21st century style for the remake?

2. The Korean city, the streets, the clubs, traffic, apartments? Ordinary Korea?

3. The contrast with the mansion, the lavish set, the interiors, wealth? The musical score – especially with Hoon playing the piano?

4. The initial suicide, the motives of the girl, people passing by, curiosity? Euny and her friend?

5. The shared apartment, Mrs Cho and her visiting, inspecting, testing Euny?

6. The mansion, Euny and her background, the divorce, study, children, her liking Lami? Mrs Cho and the expectations of the job? Hera, her pregnancy, bathing, her talk? Hoon and his interview?

7. The work, cleaning, meals, serving Hoon, the piano? Her enjoying the job? Especially the care of Lami?

8. Hoon, the approach for sex, his motivation, the motivations for her response, innocence yet consenting? Her unexpected pregnancy?

9. Mrs Cho, the severity of her manner, her advice to Euny, eating the leftovers instead of them being thrown out? Her despising of her employers? Her gossip, Hera’s mother? Her later repenting, saying she was rotten? Her drinking? Her years as a servant, character in herself, her regrets, quitting?

10. The mother and the information, controlling her daughter, haughtiness, conniving for the accident to kill Euny? Lami seeing the truth?

11. Euny in hospital, the tests, her pregnancy, her return to the family? The mother and her wanting to settle everything with money? Hoon and his giving Euny the money for the sexual favours? Their dislike of her, wanting the abortion? Hera going to buy the herbs, Euny drinking them, in the bath, the miscarriage?

12. Hera and giving birth, the twins, happiness? Hoon and his joy? Return home, seeing Euny in the bath, the discovery of the truth, her pregnancy? His attacking his mother-in-law?

13. Mrs Cho and her support for Euny, warning her against revenge?

14. Euny, mentally unbalanced, handling the twins, wanting revenge, hanging herself, bursting into flame?

15. The family left with their wealth, brittle happiness, the gifts – and unhappiness?