KIRIKOU AND THE SORCERESS

France, 1998, 74 minutes, Colour.
Directed by Michel Ocelot.

Kirikou and the Sorceress has won numerous awards at children’s festivals and animation festivals. Produced in France, Belgium and Luxembourg, it is set in Africa amongst tribal people. Kirikou is a little boy whose mission it is to save the village from the sorceress. The sorceress, however, was a young woman who was attacked by men who pushed a thorn into her back. She was in agony but became evil, living with the pain, cursing everybody. There is also a kindly grandfather – all of which are ingredients for a children’s fable but one which has appeal to adults. The answer to saving the village is for the sorceress to be healed rather than destroyed. (In America, because of the women’s lack of dress above the waist, the film was classified as for mature audiences only.)

However, Kirikou is a film that can be recommended widely both for its delightful animation and story, its music as well as its moral and its mythical tale.

1. A stylised animated film with African traditions? African images, colours, sounds? Mythologies?

2. The appeal for children, the story of Kirikou, wonderful baby, growing up, the clash with the sorceress, everything coming right for Kirikou, the sorceress and the village? Adult response? Children's response? African response?

3. The title and the focus, the little boy, wonderful powers, growing up? The role of the sorceress, in the village, with the men, with Kirikou, the happy ending?

4. The visual style, the drawings, movement? Expressions, costumes? The visual impact of the colour? The musical score?

5. Kirikou and the voice-over, the pregnant mother, giving birth, the little child, his immediately going into action, the encounter with his uncle, the story of the sorceress, hiding in the hat, confronting the sorceress, her being deceived by the hat, her wanting it? The return, the confrontation? His growing up, the old wise man, the story of the sorceress, his confrontation, her being charmed, the marriage? The returning to the village, suspicions, the uncle, the women? His standing his ground, the wise man coming, explanations and his becoming a hero?

6. The men of the village, the uncle, wanting to fight, the disappearance of the other men? The mother, her concern about Kirikou? The return of Kirikou, the liberation of the men, the happy reunion?

7. The sorceress, her angers, the story of her eating the men? Her appearance, manner, her court? Wanting the hat, finding Kirikou? Her transformation, her coming at the end, the happy marriage?

8. The people in the village, Kirikou growing up, his return, their fear of the sorceress, trying to attack her? The violence of the women? The wise man and peace?

9. The old wise man, his relationship to Kirikou, looking at the situation, giving advice, coming to make all things well?

10. An African fairy tale? African mythologies? The universal story, its impact?

KITTY AND THE BAGMAN

Australia, 1982, 97 minutes, Colour.
Collette Mann, Liddy Clark, David Bradshaw, John Stanton, Val Lehmann, Terry Camilleri, Paul Chubb, John Ewart, Edward Hepple, Gerard Maguire.
Directed by Donald Crombie.

Kitty and the Bagman is a film about gangster days in the 1920s on the Sydney waterfront. It is a lavish production, costumes and décor, music of the period.

The film was directed by Donald Crombie, a documentarist and docudrama director (Do I Have to Kill My Child) who made an impact with his first feature film, Caddy. He followed it up with The Irishman, Cathy’s Child and The Killing of Angel Street. All interesting films.

The film captures the atmosphere of Sydney, shows a picture of gangsters and their crimes as well as the glitz surrounding them and their reputations. At the same time, gangsterism in Melbourne was shown on screen with Squizzy Taylor.

1. An entertaining period piece? The larrikin element of the Australian cities early in the 20th. century?

2. Production values: colour photography, Panavision, attention to period, decor and costumes? The wharf sequence, the streets, hotels and clubs prison, houses, warehouses? The period of the '20s? The jaunty jazz and ragtime score?

3. A focus on types, caricatures? How many dimensions did the characters have - how many were necessary? Situations, motives? The humour of the film? What point?

4. The opening with O' Rourke arriving with his bride, their seeming respectability, the English background, the end of World War One and the atmosphere of patriotism? The Bagman and the police waiting? The crowds at the wharf, the aftermath of the war, the pleasantness, the crowds? The eruption into violence and the consequences for O' Rourke? Kitty's bewilderment? The seeming respectability of the period and the times -respectability of appearances? The realities below the surface?

5. Kitty and her background, innocence, niceness? Her love for Larry? Antagonism towards the Bagman? Her belief in O' Rourke, the prison visit and the reaction of the police, the warders, the other visitors? The truth and the lies? The money? Her being shattered? Her presence in the inner city, the encounter with Doris and the help, staying at the hotel? The changes in her life and her adaptation? The ruling of the street by Lil?

6. What happened to Kitty and why? Being in the hotel, having to adjust to a new way of life, feeling isolated and shy? Doris' influence? Meeting Simon and the various dates? Her being set up as a companion to the wealthy men? The build-up to the confrontation with the various prostitutes? Her decision and the dancing of the tango? The five-year sentence for O' Rourke and the clash? Cyril's presence and his devotion to her - and going into business with him? The Top Hat Club and her managing of it? The credibility of her rising to the top? The deals with and support of the Bagman? Her growing toughness and success? Did she elicit audience sympathy?

7. The confrontations with Lil? Lil and her toughness, her control and hardness, the nightspots? L11 and her relationship with Chicka? The clashes with the Bagman and the police? The rivalries? The elaborate fights with their comic touch? The set-ups - especially with Miss Jones and Cyril in bed with its seeming violent but comic aftermath? The personalities of Lil and Kitty - and their historic background in the inner city of Sydney in the '20s?

8. The enigmatic personality of the Bagman? His presence on the wharf, silent, unsmiling, controlling? Work with the police? Clashes with O' Rourke? His undercover work with the police, money elements, control and his being a bagman? His serious personality, always wearing his hat etc.? The set-up of the Top Hat Club? His hold over Cyril? His gradually falling in love with Kitty but inability to show it? The setting up of the final clash? Kitty going off with him at the end?

9. Cyril as the smooth talker, the man-about-town, his inability to manage things well, his double-dealings? The Salvation Army picketing the clubs? miss Jones and her entry into the club, her becoming one of the girls? The affair with Cyril? The cover-ups? Their being (literally) exposed by L11 to everyone's mockery?

10. Kitty's bodyguard - the big man with the glasses, his genuine affection for Kitty, his ability to protect her? The visit to the warehouse and the confrontation with O' Rourke once he had been released from jail?

11. The background of nightlife in Sydney in the '20s, gambling, prostitution, women accompanying prominent men e.g. judges and politicians? The film's comment on the possibilities for corrupting judges?-

12. The violence - with the comic touch: the factories, clubs, warehouses, shoot-ups? The final set-up with its inherent violence being diffused by comedy?

13. The minor characters and their contribution - especially Doris - her comedy being more sympathetic to the audience than Kitty's personality? The support by Chicka of Lil? Chicka's personality?

14. The background of religion and aspects of wowserism? The Salvation Army and their values? Their picketing the clubs? Image of religion? Attitude towards sex, drink? The attacks on Doris and her attacks in return?

15. The rough-and-tumble of the inner city? morals and easy virtue? The larrikin element in the Australian character and behaviour? How credible was the film meant to be? Satisfying comedy and caricature?

KISS OF DEATH

US, 1994, 100 minutes, Colour.
Nicolas Cage, David Caruso, Samuel L. Jackson, Helen Hunt, Stanley Tucci, Michael Rapaport, Ving Rhames.
Directed by Barbet Schroder.

Kiss of Death is well written by Richard Price (The Colour of Money) and directed with pace and authentic atmosphere by Barbet Schroeder (Reversal of Fortune, Single White Female). David Caruso, from NYPD, is surprisingly effective as the small-time crook caught between the police and a Chicago mob. Nicholas Cage obviously relishes his role as a sadistic gangster. It is the story of an ordinary man, used and exploited by criminals, imprisoned and asked to be an informer (and coming up against an unscrupulously ambitious DA). There is a strong supporting cast including, Samuel L. Jackson and Stanley Tucci, with impressive characterisations. This makes it an intelligent thriller. It is based on the Henry Hathaway film of 1947 - very loosely - with Victor Mature and Richard Widmark.

1. A 90s thriller? Intelligent thriller? Based on a film of the '40s? Expectations? Style?

2. The title, its reference to the particular characters?

3. New York City locations, the opening tracking shots? Situating the action in a particular part of suburban New York, the car yards, the world of criminals? The documentary tone? The real world, the fantasy world of the criminals? The score?

4. The atmosphere of cars, the initial environment and mood? Stations, wharves? The world of working-class criminals? Deals? The contemporary tone?

5. Jimmy Kilmartin and his world, his relationship to his wife? Baby? Rosie? Ex-con? His hopes? The babysitter? Ronnie and his request? Helping them out? The job? The encounter with Junior Brown? The bust, the shooting, the hit? The death? His going to prison again? The other criminals, his taking the fall? The relationship with Calvin?

6. The DA, Calvin, the information, the deals, the bashing?

7. The portrait of Beverly, of Ronnie? The hundred and fifty dollars? The lies, the bar, the drink? The deals, the funeral? Ronnie and the information?

8. The background of the lawyers, the information, the talking with Jimmy, their being clever, his becoming their victim?

9. His mother, Rosie, the baby? Getting out of jail?

10. The DA, His character, the politics? The deal? The background of Junior, the tape? The bar? The bonds, the red car? Rosie and her fears?

11. Junior, Ronnie’s relationship with him? Little Junior? The push-ups, the fanatic, Nicolas Cage’s performance? Bonds with Jimmy, trust? The death?

12. Jimmy and the phone call, the brawl, the arrest, the lawyer?

13. The program, hiding? The DA and his ambitions?

14. Calvin, Jimmy alone, the confrontation with Junior, his being saved, the DA and the tapes?

15. The citizens, trapped?

16. The themes of good and bad – and grey areas in the one character? Jimmy as a reasonable man, the family man, caught up in crime, serving his time, not ratting out his friends? The deal at the end, the pressure? His bond with Little Junior, with Big Junior Brown? The struggle between good and evil? A glimpse of the criminal world? A film noir of the 1990s?

LE PERE DES MES ENFANTS (THE FATHER OF MY CHILDREN)

France, 2009, 110 minutes, Colour.
Louis- Do de Lencquesaing, Chiara Caselli, Alice de Lencquiesaing, Alice Gautier, Manelle Driss.
Directed by Mia Hansen- Love.

An impressive film from a director still in her 20s. A film about family and relationships but also a film about the film industry.

The first part focuses on Gregoire (Louis- Do de Lencquesaing), a very busy producer. In fact, the first ten minutes show him making phone call after phone call on his mobile phone, as he leaves the building, walks along the street, finds his car, drives (speedily and without seat belt), the camera tracking him. (Perhaps this is a record for showing mobile phone use in cinema – an opening that would have been impossible twenty years earlier.). He does get pulled up by the police!

At his country home, he has a loving wife, Sylvia (Chiara Caselli), and three daughters, the younger two devoted to their father, the young teenager (de Lenquesaing's daughter, Alicia) moody and reclusive. There are some exuberant family sequences, but the phone is never far away.

When tragedy strikes the family, the film moves attention to the wife and her skills in handling the crisis in the film company. She shows a great deal of courage and energy trying to save the business side of the company.

The last part of the film shifts to Clemence, the older daughter, and how she handles the situation and her feelings – and the possibility that she will move into the film industry.

In her early career, the director was helped by Humbert Balsan, an energetic producer who, with extreme good will towards film-makers, especially from countries whose industries were developing, over-extended himself and took his own life in 2005. The film serves as a tribute to him, an acknowledgement of gratitude and an insight into the pressures of the film business, the continual need for money and trying to deal delicately and diplomatically with the moods and performances in real life but artistic types. This makes for an interesting and satisfying film.

1. The work of a young film-maker? Based on actual characters and events? Her respect for the original director, his support, life? His death? Insight and feeling?

2. The French-Scandinavian? perspective? The city of Paris, the streets, the film world, the producer and his offices, banks?

3. The contrast with the holiday house, the outings, family life?

4. The contrast with the studios, the sets, in France, in Scandinavia, the production world?

5. The musical score and its atmosphere?

6. The title, the focus on Gregoire, on his wife, on his daughters, on Clemence?

7. The opening, the fluid takes, the mobile camera, the movement, Gregoire in the office, the car, talking on his phone, the chain of events and people, the deals, pacifying difficult people? The police, the car and the seatbelt? The accusation, being taken to the station, picked up by Silvia? The introduction to his character and his being busy?

8. The weekend, Sylvia and her Italian background, love for her husband, the children? Meals, the focus on each of the three daughters? Playing with their father? Clemence and her seeming jealousy? The father handling the relationship with all the children, with the phone calls, with his wife?

9. The situation, several films in production? The staff at the office, the phone calls, the needs? The catalogue of films? Stig and the budget for Sweden, the clashes? Gregoire and his depression? The discussions, discussions with the banks, the refusals, his getting the gun, suddenly killing himself in the street?

10. The aftermath, grief, the effect on the children, on the whole family, the funeral?

11. Sylvia becoming the focus of the film, like a second act of a play? Documents, information, their going to the office, discussions with the staff, visit to Sweden, discussions with Stig, diplomacy, facing the facts, having to sell the company? The members of the company and their reactions?

12. The daughters and their characters, their love for their father, the film focusing its attention on Clemence?

13. The gossip about Gregoire, having another child, Clemence finding the letters, visiting the mother of the child? The mother’s reaction? The information about the child? Clemence going to the studio, the relationship with the would-be writer?

14. The audience experiencing the three different characters? The three different movements and moods of the film? The collapse, the recovery, mementoes – and the possibility of a new life?

EVERYBODY’S FINE

US, 2009, 99 minutes, Colour.
Robert de Niro, Drew Barrymore, Kate Beckinsale, Sam Rockwell, James Frain, Melissa Leo.
Directed by Kirk Jones.

In recent years, Robert di Niro has seemed more eccentric and mannered on the screen, whether it be as the father in the Focker films or in some of his crime dramas like righteous Kill. It is a pleasure to see him rather underplaying his role here.

He is Frank Goode, a recent widower and misses his wife dearly. She had been the point of contact for his family, two daughters and two sons. He does his daily routines and spends a lot of time in the garden. He decides to invite the children for the weekend, a chance to see them and for them to see one another. And, of course, they ring with their various excuses that they cannot come. He makes up his mind to visit them.

This is an American adaptation of an Italian film, Stanno Tutti Bene, Everybody's Fine, by Giuseppe Tornatore, made after his Oscar-winning and popular Cinema Paradiso. Marcello Mastroianni was the star of the Tornatore film, an eminent star of Italian cinema as De Niro still is of American cinema.

The film becomes a road movie (Frank's health means that he has to travel by bus rather than plane, though when he finally travels by plane, his fears and his health are a dangerous combination). He has an artist son living in New York City. He is not home. The audience knows more than Frank, that the son has been involved in drug difficulties in Mexico. Off to Chicago to see his older daughter (Kate Beckinsale), married with a son. They all put up a good front but the audience becomes aware that all is not well here. Then to Denver to see his other son (Sam Rockwell) who he thought was a conductor but leads a quiet life and plays timpani. His younger daughter (Drew Barrymore) lives in Las Vegas and says she is a dancer with a lavish apartment. Actually, her problems are quite complicated.

Everybody's Fine. Of course not.

As the children begin to speak more openly with their father, he learns that his wife had protected him from problems. The children found it difficult to communicate with him and he drove them hard with his perfectionistic expectations. Frank is in denial about all of this but is forced to face facts, re-appraise his attitudes and the achievements as well as the problems of his children. But, he does discover that his artist son did appreciate his father's urging him to be an artist.

While Everybody's Fine is a movie entertainment (and it does entertain, although some audiences have found it a bit too emotional), it is not a documentary about families. Nevertheless, many will identify with the characters and the issues – and realise that honesty and hope are a better recipe for life than demands and severity which in fact diminish self-esteem.

1. A portrait of American families? The ideal? The reality? The ironic title?

2. The adaptation from the original Italian film? Characters and issues in an American context?

3. The film as a road trip, New York City, Chicago, Denver, Las Vegas, home? A cross-section of the United States? The musical score?

4. Robert de Niro as Frank, his age, the happy marriage, relying on his wife, the grief at her death, life as a widower, working in his garden, the attention to detail, going to the shops, stocking his house? His loneliness, relying on the routines? The memories of his career, what he made, talking about it to friends, people on his travels? His friends, the shops, meals?

5. His decision to have his children visit him, the contacts, the phone calls, their excuses, his disappointment?

6. The introduction to each of his children, the initial impression?

7. His organising himself, his decision to go on the trip?

8. Travelling to New York, in search of his artist son, seeing the art in the shop, his pride in his son’s achievement, going to the apartment, his son being absent, the comments from others, the people in the shop, the mystery?

9. Travelling to Chicago, meeting with Amy and her husband and her son? The seeming happy family, together at the meal? Their talk, the slips, Frank observing this, the audience knowing about the reality of the marriage, the husband keeping face, the son and his behaviour, failures, reaction to his parents’ separation? Amy and her phone call about her brother, going to Mexico to find him?

10. Robert, in Denver? His father’s arrival, the noise, the suitcase, going into the rehearsal room, the conductor? His father thinking that Robert was a conductor, watching, the truth about Robert and his being a percussionist, satisfied with a much lower level? The frank talk between father and son, especially about expectations?

11. The theme emerging that Frank was pushy, making demands on his children, noting their talent, wanting only the best? The children and their mother, confiding in her, her knowing the reality?

12. The visit to Las Vegas, the wealthy apartment, Rosie and her friend, the child, the lavish treatment, the meals? Rosie and her being a dancer? The arrangements, having her friend’s apartment, the child being her own, the truth, her sexual relationship? Her father finding out and being dismayed?

13. The truth about the son in Mexico, the drugs, his death?

14. Frank and his heart attack, not wanting to fly, on the plane, going home, resuming his life?

15. The children coming, being themselves, speaking the truth, telling their father the truth, his accepting it, a new beginning?

16. The film as a kind of variation on the King Lear theme – but with a happy ending?

COP OUT

US, 2010, 107 minutes, Colour.
Bruce Willis, Tracy Morgan, Seann William Scott, Kevin Pollak, Adam Brody, Jason Leigh.
Directed by Kevin Smith.

Kevin Smith has been having bad luck lately with film titles. People objected to Zack and Miri make a Porno. And he had to use Cop Out instead of A Couple of Dicks, his working title – there are ruder jokes in the film (though not quite as many in some of Kevin Smith's other films). In fact, if you did not know Smith directed it, it would just be an average time-passer of an odd couple pair of cops solving some crimes while sparring with each other. Smith didn't write the screenplay but one presumes he liked all the movie references and Tracy Morgan's homage to these movies (when Bruce Willis knows he should have used the French, 'hommage'.) Having glanced at so many negative comments, I found it not nearly as bad as some apoplectic reviewers (who became more apoplectic when Smith wrote an article suggesting critics were superfluous) and some die hard Smith fans (who don't agree with him doing genre movies).

Bruce Willis does his laid-back cop thing, not exerting any extra energy. Tracy Morgan (also seen in Death at a Funeral) does his schtick – though how he every became a policeman, got through training, managed action on the beat, did not get attacked by his irritated and frustrated colleagues is the main mystery of the film.

Otherwise, it is Jim and Paul get suspended but keep pursuing the drug criminals, Jim (Willis) preoccupied about paying for his daughter's wedding reception and Paul (Morgan) prone to jealousy concerning his wife (as well as being on the phone or looking in the wrong direction when some important action was 'going down', as they say.

One of many similar cop shows.

1. A police comedy thriller, the usual ingredients?

2. Kevin Smith, his films, his comedies, scatological, homage to the movies? Cartoon style?

3. New York City, the precincts, homes, drug world, the streets? The realism? The musical score?

4. The title and its tone? The working title, A Couple of Dicks? Kevin Smith and the jokes about homages to other films, quotes from other films, re-enactments? As played by Tracy Morgan?

5. An odd couple story? Jimmy and Paul together, their characters, Jimmy and Bruce Willis’s veteran style as police officer? Tracy Morgan and his patter? His errors – and the credibility of his being a policeman at all? The anniversary card and his sentiment?

6. Paul and the interrogation of the drug dealer, imitating the range of films, paying homage? Getting the information, the stakeout, dressed as a mobile phone ad? Jimmy watching? The deal, the criminal suspicious, the shooting, the chase? The head and his suspending them? Their ruining the preparations and stakeout?

7. Paul and his wife, his love for her, her job, his forgetting to celebrate with her? Henry the neighbour visiting, Paul’s jealousy? The toy bear, the camera inside, seeing the film, drawing the conclusions, the second look, Debbie leading him on with her gay cousin, her talking at him? His relief?

8. Jimmy and his daughter, the plans for the wedding, the meeting with Pam and Roy, the issue of who was to pay, the argument about who was bad? Roy as a character? The decision to sell the valuable baseball card?

9. The drug group, the head, the plans, getting information, the chief and his baseball room, the card – and later the bullet hole through it? His brother, death, the cemetery? Taking Gabriella? The ruthlessness, the issue of the stolen car, the execution of the drivers?

10. Dave, the holdup in the store, his dumb partner? Stealing the card? Jimmy seeing the tattoo, visiting the tattooist to discover the identity? Watching him, Dave and his parcour? In the house, the toilet? The mother arriving home, the gun, her demands, capturing him?

11. Dave, in the car, his jokes, talking to Paul, taunting him? The knock-knock joke? In jail, the prisoner, the psycho counselling, the man admitting that he knitted? Jimmy and Paul getting Dave to steal back the card, in the car Dave confiding in Paul, their jokes, Jimmy’s exasperation? Climbing the wall, falling, seemingly dead – but the end joke in the morgue?

12. Gabriella, Paul looking after her, her help, the crucifix, the memory stick, her escape, being captured, held?

13. Jimmy and Paul, confronting the boss in his home, their plan, in the apartment, the attack, the shootouts? Counting to three and shooting on one?

14. Hanseker and Barry, their being upset with Jimmy and Paul, coming to the house, the shootout, Hanseker being wounded? Being saved by Jimmy? The head, his promising a medal?

15. The happy wedding, Pam asking about giving the bride away, Paul holding a gun to Roy, his sitting down, Jimmy giving the bride away – and the happy ending?

16. The humorous and jokey tone of the whole film?

HAPPINESS

US, 1998, 141 minutes, Colour.
Jane Adams, Jon Lovitz, Philip Seymour Hoffman, Dylan Baker, Lara Flynn Boyle, Justin Elvin, Cynthia Stevenson, Rufus Read, Louise Lasser, Ben Gazzara, Camryn Mannheim, Molly Shannon, Elizabeth Ashley.
Directed by Todd Solondz.

Happiness was a controversial film on its first release in the late 90s. It presented a picture of American suburbia, highly dysfunctional. It anticipated American Beauty by one year.

The film was written and directed by Todd Solondz, an eccentric director, focusing on human nature, its foibles, and how people miss out in their relationships. He had already made Welcome to the Doll House by this time. He then made films every few years, especially Life During Wartime in 2009. This took up the characters in Happiness ten years later but he employed an entirely different cast to portray these same characters and show what had happened in their lives. Happiness, being the first film, developing the characters quite strongly with excellent performances, is the stronger of the two films.

The title is ironic. It also implies with play on words a focus on male sexuality.

In fact, sexuality and relationships are to the fore in this film. Each of the characters has difficulties with personality and with their sexuality. The film focuses on Mona and Lenny, married for forty years (Louise Lasser and Ben Gazzara) and their three daughters. The eldest seems to be living an ordinary life in suburbia (Cynthia Stevenson) but her husband, Dylan Baker, a psychiatrist, has his own sexual obsessions, gives advice to his eleven-year-old son (Rufus Read) about sexuality and the experience of puberty. This becomes something of an obsession (in quite frank language and visuals) of the young boy. However, the father is also a paedophile, and the film is very strong in its presentation of his obsession, his behaviour – and his inability to change his way and repent of what he has done. Dylan Baker offers a complex performance, both antipathetic and momentarily sympathetic.

The next sister is played by Lara Flynn Boyle, a successful novelist with a book based on lies, allegedly autobiographical. She is brittle and cannot relate well to men. She encounters her neighbour, Philip Seymour Hoffman, who is also sexually obsessed and makes obscene phone calls.

The third daughter is played by Jane Adams, a lonely woman who has been made to feel a failure. In the opening scenes of the film, with Jon Lovitz, there seems to be a romantic atmosphere till the mood is completely changed and we see that she feels herself a failure as well as hearing of the suicide of the Lovitz character. Later she encounters a man in her English as a Second Language class and has a brief affair only to be disillusioned and he is asking her for money. In the meantime, Camryn Mannheim plays Philip Seymour Hoffman’s neighbour – and she has a story about sexual assault, killing and mutilating the man who assaulted her.

While the synopsis sounds grim, the film is very well written, insightful and challenging, and the performances are all excellent.

1. The impact of the film in its time, later? Awards?

2. The title, unhappiness, self-absorption? Sexual overtones?

3. The New Jersey situations, ordinary, homes, streets? Contrast with New York? Florida? The musical score, the range of songs, the classical music – with each character and with each event?

4. The blend of realism with satire? Serious and humorous? Black comedy?

5. The quality of the dialogue, the wit, clever? The ensemble performances?

6. The prologue, the introduction to Joy and Andy, the talk, the close-ups, crying, tension, relationships, Andy and the gift, taking it back from Joy, his abrupt change of tone? The phone call about his suicide? The people in the office trying to remember who he was? This introduction setting the tone of the film?

7. Allen and his story, sexuality, the link with going to Bill for therapy, and so the link with the family? His resolve to talk, the phone calls, his imagination, the crudity, masturbation, the envelope and the wall? His focus on Helen, his work at the office, failed relationships, sexuality? Imagining Helen – the scene in the elevator and her polite ignoring of him? Kristina, as the neighbour, her visits, his being drunk and ousting her? Her return, going out with him, eating and the ice cream, telling the story of Pedro, the flashbacks, her killing him and the mutilation? Their lying on the bed? Helen trying to fix him up with Joy? (And their being together in Life During Wartime.)

8. Kristina and her lack of self-confidence, her image, fat, eating, visiting Allen, the Pedro story, the appeal for money for the funeral, revisiting him, coming into the room, being ousted, going out, the date, telling the story, eating the ice cream? Her attitude towards sex, repulsion? Fate? The presentation of Pedro, the small man, widower, his attack on Kristina? This sequence overdone – or emphasising her loneliness?

9. Joy and Trish seen as losers, Helen and her superiority, busy? Their dinner at their parents’ house? Joy and her various jobs, leaving, the effect of Andy’s death, her tears? Getting the new job, teaching English as a Second Language, her awkwardness with the class, their wanting the previous teacher back? The strikers outside and insulting her? The encounter with Vlad, the taxi, his approach to her, going home, the sexual encounter, his singing You Light Up My Life? His absence from the class, the visit from his partner, her spitting on Joy, the partner having a black eye, Vlad’s violence? His stealing her CD player and guitar? Asking for money, her giving it to him? Saying that she would be more at home with the strikers? The sympathetic fellow teacher and their discussions?

10. Vlad, the Russian background, thief, pleasant, singing, sexual aggression, leaving, taking Joy’s possessions? His partner, the children, the household, the woman and her spitting, bruised? The money?

11. Helen and her writing, relationship with men, with celebrities? Allen’s phone calls and her puzzle? The lunch with Trish, ringing Allen? The failed relationship? Her parents and the others confiding in her but not in Trish?

12. Trish and her seeming to have everything, her happy life, the ironies in her cheerfulness? With Joy and with Helen, the secrets? Checking with them? The parents and the break-up? At home, the children, nice, her concern about Billy, the PTA meeting, her relationship with Bill? Johnny’s stay-over, his being sick? Her disciplining of Timmy and his leaving the table? Her not realising the truth about Bill, the graffiti on their house, her upset, leaving with the children, going to Florida?

13. Bill, his session with Allen, bored, imagining what he had to do, buying the magazines, masturbation? Going to the baseball, seeing Johnny, the infatuation, the stay-over, administering the drugs, taking him home after his being sick, the other boy – and the assaults off-screen? The father, his concern about his son, as effeminate? His gross attitude? The phone calls, the boy’s father insulting Bill? The police, the graffiti on the house, Billy asking him all the questions, his explanations about sexuality to Billy, puberty, encouraging him? Confessing that he could not change?

14. Themes of paedophilia, the reality, seeing the person committing the offences rather than just a name, the mental illness, psychological difficulties, the compulsion? His not showing remorse?

15. Billy, moody, eleven, preoccupied with sex, listening to the other boys in the class, his not achieving puberty, his experimentation? With Johnny, their friendship, thinking him girly, Ronald Farber and his situation and giving the information to his father? Bill’s advice, confiding in his father, the reaction to the graffiti, his asking his father and his father confessing? The final sexual achievement at the end?

16. Mona and Lenny, forty years married, arguing, the phone calls and secrets, the separation? Lenny and his just wanting to be free, by himself, play golf, no other woman? His encounter with Diane, her advances? Her illness? Lenny as a sullen man? But agreeable with his daughters? Mona, her desolation, talking with her daughters, going out, going to the estate agent, the glamorous woman, the divorcee, her breaking down and weeping?

17. Diane, her absent husband, advances towards Lenny, her illness?

18. The gallery of supporting characters and their contributing: the strikers outside the English as a Second Language Institute, Joy and her fellow office workers and their wondering who Andy was, the estate agent?

19. The finale, the reuniting of the daughters, the family? Hope or not?

20. Happiness, unhappiness, self-centredness, delusions, sex and libido, identity, relationships and loneliness, fantasy and acting out fantasies? American society and the 20th century?

PRAYERS FOR BOBBY

US, 2009, 90 minutes, Colour.
Sigourney Weaver, Henry Czerny, Ryan Kelley, Dan Butler, Austin Nicholls, Carly Schroeder, Scott Bailey, Rebecca Louise Miller.
Directed by Russell Mulcahy.

Prayers for Bobby is based on a book by Leroy Aarons, the true story of Mary Griffith, who became a gay rights crusader after her teenage son committed suicide in the 1970s. She blamed herself, and especially her fundamentalist religious background as well as the intolerance that it led to, alienating her son.

Sigourney Weaver gives a powerful performance as the mother. Henry Czerny is in the background as the supportive but seemingly indecisive father. Ryan Kelley portrays Bobby.

The film has a great deal to say about understanding homosexual teenagers and the support and understanding that they need in order to have some kind of sense of self and some purpose in life and goals. The film, set in the past, reminds audiences of the lack of understanding. However, in the 21st century, there is a lot more openness and discussion. The film is also interesting in its presentation of the understanding of the Bible, the total reliance of many Christians on the literal word of the Bible rather than interpretation in context and in applications to the present situations. The film also offers a sympathetic look at ministers from the Metropolitan church.

Towards the end, Sigourney Weaver makes a strong speech in her town of Walnut Creek, where there was a proposal to have a day of sympathy for gay men and women. (It was turned down.) This speech could be used as a strong basis for discussion about attitudes towards the issue. The film was directed by Australian Russell Mulcahy who directed a wide range of films from Razorback to Swimming Upstream as well as the original Highlander film and many action films and telemovies.

1. A film for a television audience, its style, message, impact? The transition from the 1970s and 80s to the present?

2. 2009, homophobia, considerations of homosexuality, from a personal point of view, religious point of view, psychological? Christianity, biblical and literal? The challenge to the audience?

3. The Midwest, Oregon, San Francisco? The 70s and 80s? Homes, schools, churches? Ordinary people? The city and clubs? San Francisco and parades? The perceptions of the past?

4. Bobby, aged twenty, different, at home, his religious background, his diary and his feelings, his feeling different and separated, the experience with girls, sociable? His birthday and the celebration? His anguish, passing the gay club, in denial? His telling his brother? Everybody knowing, his emotional reaction? The way in which he was treated – by the family, at school?

5. The portrait of the family: the quiet father, the older brother and his support of his brother, his sisters, the bonds between them?

6. Mary Griffith, Sigourney Weaver’s performance? Dominant, a woman of principles, religious belief, direct quoting from the Bible, her strictness, sexual sin and homosexuality as an abomination? Language of death and hell and sin? Her reaction to Bobby, loving him but hard on him, quoting the Scriptures, taking him to the church, writing out the quotes on his mirror and his furniture? Her talking to the minister? Her abhorrence and denial? Seeing her at work, at home, the family, her control?

7. Bobby and his going to church, going to join the group, their talking, their problems and sharing? The psychiatrist and her talking with Bobby, wanting to heal him? Her wanting the family therapy? His lighter touch and her not being amused? The father not wanting to go? The issue of costs?

8. Bobby, his wanting to move out, the visits home, his mother and her reaction, Jeanette and her support?

9. His going to Oregon, the farewell, staying with Jeanette, talking freely with her, writing in his diary? Going to the club, feeling at home, the men, dancing, Jeanette as support? His meeting David? Sharing with him, going to the family dinner, their support? Going home, David’s advice to defy his mother? His doing this, her cutting him off? His farewell, the family seeing him off outside, his sisters’ support? His mother behind the curtains?

10. Bobby and his return, David and his not answering the phone, seeing him with someone else, Bobby being miserable, lonely, writing in his diary, feeling guilty, falling to his death?

11. The news, his father’s reaction? Going to the workplace, Mary feeling locked in and her anguish? The brother and sisters? The funeral? The homily and the denunciation of homosexuality and of Bobby?

12. Going to the Metropolitan church, the sympathetic priest, the reaction, the discussion about the texts, her considering his interpretation as blasphemous? Mary having to rethink, blaming her husband, reading Bobby’s diary?

13. The contact with Betty, ringing her, Betty and her own experience of her son? Her talking with the group? Her disillusionment, change?

14. The issue of the Ordinance for the Day, the meeting, Mary going, her speech and its emotion, its power, its meaning?

15. The speech, its content, her manner, the effect?

16. The whole family going to San Francisco, joining in the parade, solidarity, Mary imagining Bobby there, her sympathy for the young man she met?

17. Issue of principle and practice? Judgmental attitudes and tolerance? The role of religion, the Bible? A principled approach to a person, acknowledging their feelings and needs?

KICK ASS

US/UK, 2010, 117 minutes, Colour.
Aaron Johnson, Lyndsy Fonseker, Christopher Mintz- Plasse, Mark Strong, Michael Rispoly, Elizabeth Mc Govern, Nicolas Cage, Chloe Moretz, Jason Flemyng, Tamer Hassan, Yancey Butler, Craig Ferguson, Dexter Fletcher, Xander Berkely.
Directed by Matthew Vaughn.

The title says it all: content, style and tone.

What might have been quite an amusing parody of the hero graphic novels, comics and superhero movies (and there are some amusing moments) has become something of a Sin City (which is referred to in the screenplay) for a younger audience. Sin City was clever but had a nasty and sometimes brutal atmosphere. Kick Ass could be far cleverer if it didn't rely so much on sending up the cliches while indulging them at the same time. This makes it something of a hotch-potch and the writing and the performances (generally very good) compound this.

There are several strands of story as it opens. Dave and his slacker friends are the targets of muggers and bullies and Dave dreams of overcoming them as a superhero. So far, so good and zany, especially when he buys a kind of scuba suit on-line and uses it as a costume. British Aaron Johnson (John Lennon in Nowhere Boy) seems effortlessly American high school student as Dave who sells himself on line as a kind of helper/vigilante and calls himself Kick Ass. (He also has hormonal and sex fantasy problems which are given undue attention.)

Meanwhile, the rich boy of the class (Christopher Mintz- Plasse, Superbad, Role Models) is revealed as having a nafarious gangster, drug-dealing father who is unscrupulously violent. The action soon becomes like father, like son as the son tries to trap Kick Ass whom his father blames for most of his troubles, and sets himself up as a helper hero, Red Mist. The father is played by Mark Strong, so good in so many films and showing what it is really like to act. (He has vicious language problems – amongst others.)

Meanwhile again, retired policeman, Damon Macready, coaches his precocious 11 year old daughter, Mindy, in the details of weaponry, even helping her by firing at her bullet proof vest so that she will be ready for the real thing. This too is amusing with Nicolas Cage giving a nicely judged performance as the eccentric father who dotes on his daughter. The daughter is played by Chloe Moretz who must be precocious in herself to have given such a performance. She has become the subject of some media controversy as to whether it was appropriate for a young girl to take on such a role – and say the swearing things she (often) does. They become true superheroes, Hit Girl and Big Daddy and to say they have vigilante destructive power is an understatement.

Then it all comes together for the hotch-potch, the funny bits, the satiric bits, the violent bits (no mercy and no prisoners taken), the foul-mouthed bits, some sexy bits. And, of course, the shoot-out ending, complete with bazooka, is slam-bang and multi-bang – for all and sundry in New York City to watch on TV (which decides it's too much for viewers, so then everybody rushes to the internet).

Too much of the comedy and the language is geared to leering laughter or disbelieving chortling. Of course, it is not meant to be taken seriously. Had the makers taken their comic intentions more seriously, it could have been a better and funnier movie.

1. The origins of the film in a graphic novel, comic strip style? Parody, using the clichés for fun? Violence and excess? The target audience? Younger audiences, older?

2. The British perspective on American superheroes and American style? The British cast and their contributing to the American style?

3. The title, its tone?

4. The film as heightened, unreal? The critique of the film, excess, violence, language? Especially concerning Chloe Moretz and her age and language?

5. The three basic stories and their interweaving?

6. The graphic colour, the comic book style, the dialogue, the staging?

7. Dave, in himself, his love for heroes, his school friends, his ideals? His age, sexual preoccupation and behaviour? Home life, with his father, his mother’s death? His friends and their being considered nerds? Living heroism in their imaginations? Online? The muggers and the fear? The buying of the costume, its arrival and his joy, putting on the suit, the idea of being a superhero, advertising online, the many responses? Ordinary at home? With his father, friends, chat rooms? Theories?

8. His going into action, the fight, intervening, his being bashed, being filmed and the images put online, the hits, his success? The hospital, plates and this giving him a kind of interior armour?

9. Chris, at school, with Dave and the others? His relationship with his father, spoilt? His wanting to go to the movies? His father, gangster, the range of henchmen? The brutality, the interrogations about drugs and betrayals, torture? Cutting off fingers? Burning the man in the microwave – with the ‘oops’ reaction? Comic thugs, caricatures – but ultra-real?

10. Damon and Mindy, father and daughter, the tone, Damon and his formerly being a policeman, paternal care, the bulletproof vest, firing at Mindy so that she be prepared? The birthday, the talk, the guns for the gift? Going to the firing range? He and she as larger than life?

11. Dave, his friends at school, their nerdish background, the humour? Katie and her response to Dave, her girlfriends, the talk?

12. Chris and his becoming Red Mist, his admiring Kick Ass, talk, leading him to a trap? Big Daddy and Hit- Girl and their helping out? Their martial arts skills?

13. Dave, Katie, their meetings, chats, the sexual relationship? Her not knowing the truth?

14. Frank, his style, his office, the thugs, his orders, cruel? Chris as his son? Their capturing Kick Ass and Big Daddy?

15. The torture, its being on television, public response, its being taken off television, everybody watching online? Hit-Girl? and her arrival, the massacre? Big Daddy and his death? Kick Ass at the office, using his wits and skills, the thugs? Frank and his death?

16. Kick Ass, flying, the bazooka, Frank hurtled outside the building?

17. The return to ordinary life, Mindy going to school with Dave?

18. The irony with Chris as the boss – a sequel in store?

19. The comic effect, heightened – or too much?

MY NAME IS KHAN

India, 2010, 167 minutes, Colour.
Shahrukh Khan Kajol, Jennifer Echols.
Directed by Karan Johar.

This is not a typical or traditional Bollywood movie. While it has some scenes in India, where two brothers grow up with their mother but who go to live in the US, the main part of this long film takes place in the United States.

The film stars one of India's most popular heartthrobs, Khan. However, he takes on a quite different role from the usual singing and dancing hero. He is Khan, a Muslim, an earnest and good man who has Aspergers' Syndrome. This means that he has characteristics of the idiot savant (remembering Dustin Hoffman in Rain Man and Tom Hanks in Forrest Gump), an encyclopedic amount of information on topics that create interest and a direct way of reciting facts and figures. More recently, Hugh Dancy portrayed a man with Aspergers' Syndrome in Adam. The other principal characteristic, which Khan explains to mystified people, is that the Aspergers man or woman does not pick up emotions and feelings if they are not expressed verbally. And metaphorical language and colloquialisms are taken literally.

As a child, Khan is bullied by other children and despised by his brother. When his mother sends him to San Francisco, his brother gives him a job selling beauty products which he does in his encyclopedic way but ingratiates himself with many customers. He also falls for a beautician, a divorced woman with a little boy who relates wonderfully with Khan.

It would be pleasant to say that all goes well in the land of opportunity. While Khan and others experience some prejudice against Muslims, it is the experience of 9/11 that transforms their lives. They become innocent targets of the war against terror and there are some tragic repercussions for Khan and his wife. He interprets some words of his wife that he should meet the president of the US and assure him, 'My name is Khan and I am not a terrorist'. Like Forrest Gump, he croses and re-crosses America, meeting a group of Christian black people in a small town in Georgia, eventually helping them when a hurricane strikes. In the meantimes, Khan has experienced arrest and some inhuman interrogation and, by accident, becomes a national figure.

The overt emotion in Indian film-making is akin to the heart on sleeve sylte of American storytelling. More reticent tastes might find the strong and unabashed feelings too much. A pity, because the film invites western audiences to empathise with this different culture and approach to life, with its emotional message and appeal – and a challenge, especially to American audiences, but not exclusively, to look beyond narrow national and culturial confines.

1. The expectations of this Bollywood film? For an international audience? For an American audience? The pattern of Bollywood films, the differences?

2. The scope of the film, the sequences in India, family life, school, poverty? The contrast with the American world, the world of the migrants, American citizens? The background of religious issues? The culmination in the war against terrorism, 9/11 and its consequences?

3. The introduction, Khan as an adult, his statement that he was not a terrorist, people’s reactions? The police and security? The flashbacks?

4. India, Rizwan and his brother, their mother? The brother and his ability, Rizwan and his being slow? The experience of death? Sending the brother to the United States?

5. Asperger’s Syndrome and audience knowledge of it? The characteristics? A form of autism? Knowledge and intellect? Personal manner? Objectivity – inability to deal with feelings in relationships? Rizwan as a boy, the sequences at school, the teachers and children, his being disturbed by noise, the colour yellow, physical contact?

6. Rizwan going as an adult to the United States? His brother and his wife, their home life, family? The company? Rizwan and the job, in sales? The kit, his recitation of the facts and the spiel? His outreach and reactions to him? The staff? His managing, the detail of his work?

7. The beauty parlour, his meeting Mandira? Communicating with her? The difficulties of a Hindu-Muslim? relationship? Their understanding one another, her loving him, his response to her as best he could? Marriage, their life together, the passing of the years, their son? The American way of life? Mandira and her own salon?

8. The impact of September 11, 2001? The visuals? The name of Khan, the customers dropping off, people being suspicious? The effect on Mandira, on Rizwan, on the family?

9. The boy at school, his mixing with the Americans? Reese as a good friend? The group of boys, Reese’s family and the bonds with Mandira and Rizwan? 9/11, the difficulties? Reece’s father and Iraq, the death? The blaming of Sameer? The attack on him, Reese trying to stop it? His death? The boys and their lies?

10. Mandira, her grief, blaming her husband, his reaction? The issue of terrorism? The issue of President Bush, getting the message to him?

11. Rizwan and his odyssey, the parallel with Forrest Gump? The overtones? Crossing the United States? Willing to do any jobs, his mechanical skills? Getting some money, surviving?

12. His following the president’s schedule, sometimes getting close, always missing out?

13. The visit to Georgia, the family, Mama Jenny? The hurricane, his seeing it on the television, their plight? His going to help? Being part of the family? The media, his becoming a hero?

14. His life in Los Angeles, the sniper and his suspicious behaviour, hostility? Rizwan and his shouting to help? His arrest, interrogations, treated suspiciously?

15. His brother seeing the television, Mandira seeing it? The support of the group in Georgia? Reese and his talking with his mother, admitting the truth?

16. The reality of terrorism, the man in the shop, the situation?

17. Rizwan and his achievement, despite his disability? The story of a humane man? The possibility of marriage and family and happiness? The reality of terrorism and its consequences?