WALLANDER: TJUVEN (THIEF)

Sweden, 2009, 85 minutes, Colour.
Krister Henriksson, Lina Endre, Sverrir Gudnason, Fredrik Gunnarsson, Matt Bergman.
Directed by Stephan Appelgren.

Thief is the fourth in the 2009-2010 series from Sweden, the Wallander series based on the novels by Henning Mankel.

Krister Henriksson is effective as Wallander, much less anguished than Kenneth Branagh in the British series. However, there is a murder mystery here and the disappearance of a Polish man in Ystad. The film shows prejudice against strangers in the community. However, the film also shows Wallander’s interest in the prosecutor, Katarina, and he is able to make a good impression with her son Elias, taking him to football training, participating in a match between parents and students. This personal touch is not always present in each of the films but gets a strong emphasis here.

Otherwise, the regular members of the police force are all present and doing their work.

1. The crime, Sweden, Ystad, a picture of Swedish society?

2. The locations, the city itself, on the sea, the forests and woods? The musical score?

3. Wallander and his work, age, personality, his walking his dog, the friendship with Katarina, the encounters with Elias, buying the tickets, taking him to football practice? Wallander’s work, manner, working with the team? His hunches, offer of resignation?

4. The team, Katarina and her work as prosecutor, in action, Svartman and his solid work, insights? Martinsson and his work, ambitions, seeming shoddy at times? Nyberg and his investigations? Pontus and Isabell and their learning?

5. The title, the thief, break-in, the robbery, taking the photo of the dead woman, using the photo for blackmail? His situation, going into the house to get his tools, being bashed by the vigilantes, in the forest, the car burnt? His wife, family and her concern? The Polish background?

6. Olle as one of the concerned citizens, his house robbed, a doctor? With the other people in the street? The robberies? Their following the Pole, bashing him, Olle and his viciousness, the others cautious? Their getting their story right? The police, the interrogation of Olle, his changing his story, the others and their story, blaming him?

7. Olle, the photo, Wallander tricking him? The mannequins, the lies, the divorce, his lawyer, the truth about the murder?

8. The kids, larrikins, stealing the mannequins, vandalism, at school, the police and the interrogations and threats?

9. Elias, his mother, the football, selling the tickets, the practice, Wallander playing, winning the raffle?

10. A lower-key Wallander story?

THE ROYAL SCANDAL

Canada, 2001, 90 minutes, Colour.
Matt Frewer, Kenneth Welsh, Liliana Komorowska, R.H. Thomsen. Robin Wilcock.
Directed by Rodney Gibbons.

The Royal Scandal is based on Sherlock Holmes’ story, A Scandal in Bohemia. It focuses on Irene Adler, the woman with whom Holmes was infatuated but who was an arch-criminal.

This is the second in a series directed by Rodney Gibbons with Matt Frewer as Sherlock Holmes and Kenneth Welsh as Doctor Watson. Matt Frewer has been encouraged to play his character as eccentric and even for laughs. However, this is probably the most of the four in the series. Kenneth Welsh plays straight down the line as Doctor Watson and is the more effective for it. Liliana Komorowska is Irene Adler.

The film involves the Crown Prince of Germany and a photograph in which he is compromised with Irene Adler. In the meantime, a spy at the British Admiralty is selling plans to the Germans. Irene Adler is employed by Mycroft Holmes, Sherlock’s older brother, to be an alternate spy and to get back the plans for the British warships.

Holmes in flashbacks indicates how he was initially attracted to Irene Adler, but is also bemused by her and attracted to her in London. Much to Doctor Watson’s disapproval.

The film is interesting in its re-creation of the period, the presentation of the Conan Doyle story, the dramatisation of Irene Adler.

1. The popularity of Sherlock Holmes stories? As written by Doctor Watson? Doctor Watson and his work with Holmes?

2. The series with Matt Frewer and Kenneth Welsh? The interpretation? The touch of comedy? Holmes as arrogant? Watson as plainspoken and ordinary? How successful an interpretation?

3. This film based on A Scandal in Bohemia? One of the basic Sherlock Holmes stories? The Crown Prince, Irene Adler, espionage?

4. The focus on the espionage, the Crown Prince of Germany? To become the Kaiser? The scandal, the photographs, his employing Holmes to recover them? His disguise, Holmes penetrating the disguise? The connection with the preparations for war? The Admiralty, the plans for the warships, the junior official and his selling the secrets? The involvement of Irene Adler – double agent? The other members of the espionage group? Meister and his sinister behaviour? The murders? The final confrontation?

5. Holmes, his reminiscing about Irene Adler? The opera, his infatuation? Her inviting him to stay, the robbery, his being used by Irene Adler? Yet his devotion to her? Discovering she was in London, the meetings, the confrontations? Her trying to beguile Holmes, succeeding? Watson’s disapproval? The disguise, her helping Holmes, his taking the photographs? Her disillusionment? The truth from Mycroft Holmes?

6. The photos, the various groups wanting the photos? The British and their wanting them for a hold over Germany? Mycroft Holmes and his involvement, requesting Sherlock for photos? The double dealings with Mycroft and the government?

7. Holmes, the regulars and their scouting for him? Their discoveries? Holmes and his relying on them?

8. The politics, the personal scandal? The devious behaviour? The photos as pawns? The photos of the ships? The death of the young official?

9. A satisfying Holmes story – with Matt Frewer’s eccentric performance?

CENTURION

UK, 2010, 97 minutes, Colour.
Michael Fassbinder, Dominic West, Olga Kurylenko, Noel Clarke, Liam Cunningham, David Morrissey, Imogen Potts, J.J. Feild, Riz Ahmed, Ulrik Thomsen.
Directed by Neil Marshall.

The early 2nd century AD clash between the Roman imperial legions and the Picts on the British frontier of the empire was harsh and violent. Centurion is not afraid to show either the harshness or the violence (often quite graphically, especially a lot of throat-slitting). There is an extraordinary harshness in the filming of the craggy mountain landscapes, a terrain for survival for a group of Roman soldiers.

Writer-director Neil Marshall offers a credit of thanks to director Walter Hill and Greek historian, Zenophon (for Xenophon). Hill is a director of the tough and visceral school and Marshall quotes his film Southern Comfort. Xenophon chronicled the escape of a group of Greek soldiers fighting their way back to base and safety. In fact, Marshall's three previous films were all about small groups struggling for survival, menaced by hostile and violent enemies (Dog Soldiers where a group of soldiers confront werewolves, The Descent where a group of women cave explorers battle dead monsters, Doomsday a group in an apocalyptic future).

The narrator here is a soldier, Quintus Dias, son of a freed gladiator slave, captured by the Picts and tortured. In the meantime, the Roman commander sends the 9th legion (the subject of a forthcoming film from Kevin Mac Donald, The Eagle of the Ninth) to vanquish the Picts. The opposite happens and most of the men of the Ninth are massacred. A small group, including Quintus, who had been rescued by the legion, leads the small group on a flight north through the wintry Scottish landscapes, pursued by a crack group led by Etain, a tracker, whose family had suffered under the Romans and she had been raped and her tongue cut out. There are some moments of respite when a woman, exiled as a witch, does assist the fugitives.

The flight and chase are gruelling (even for the audience). The cast is strong: Michael Fassbended is Quintus, David Morrissey and Liam Cunningham are two soldier stalwarts. Ulrich Thomsen is the Pict leader. Dominic West the Roman General and Olga Kuryenko, fierce as Etain.

At times the voiceover from Quintus is literate and sonorously delivered followed by 21st century idiom and swearing.

While it re-creates the grim conditions for the legions and the clashes between empire and 'barbarians', the film is geared towards an audience (probably male) who prefer their films with action and toughness.

1. A piece of history? Re-creation of the period? The action genre? Its relationship to modern situations and warfare?

2. Scotland, the rugged mountains and cliffs, the forests, the snow, the camps and the forts? Authentic atmosphere? The musical score?

3. The historical information, the role of the Picts, the Ninth Legion, Hadrian and his decisions, the building of the wall?

4. Quintus Dais and running in the snow, saying it was not the beginning nor the end of his story? The reprise of this statement at the end as he went back to stay with Arianne?

5. Quintus captured, imprisoned by the Picts, the status of the chief, the back-story of his being a farmer, the attack of the Romans? His being tested, the chief’s son cutting Quintus? In the cell? The picture of the Picts?

6. His escape, running through the forest, the pursuit, caught, about to be executed, rescued by the Romans?

7. The picture of the legion, in their headquarters, the men exiled from Rome, the bleak situation in Britain, the hand-wrestling match, the request for a replay, the general, his winning, the brawl of the men? A brutal world? The general, his being close to his men, their declarations for him? The messenger arriving, orders for an advance?

8. The general visiting the commander-in-chief, the strategy, the politics, the role of the army, following orders?

9. The advance, the mute scout, her leading the men, their being trapped, the spectacle of the fireballs on the legion? The attack, the melee, the close-ups of the fighting, the gorier aspects of hand-to-hand combat? The destruction of the legion? The general taken, the few survivors?

10. The general in the Pict village, interrogated, the slits, the group and their attempt to save him, coming into the camp, killing the guards, unable to free him? The general and his having to fight Etain, his death?

11. The group of survivors, Quintus emerging as the leader, the range of backgrounds, from Rome, soldiers, gladiators, cooks? The rescue attempt and its failure? The killing of the chief’s son? His funeral?

12. The Picts, their reaction, grief, sending Etain to lead the mission against the survivors, the group of soldiers pursuing, through the mountains, the forests? Catching up, killing by ambush? The reverse experience for the group and their killing some of the Picts?

13. Etain, her back-story, the sufferings of her parents, her own, her tongue cut out? Her being relentless, as a spy with the Romans? The pursuit, her appearance, her ability with weapons? At the river, catching the survivors, their jumping into the river? Going to Arianne’s house, the search, the threats to Arianne? The Picts’ fear of her as a witch and therefore not killing her? The final pursuit to the fort, the siege, the fight with Quintus and her death?

14. Quintus as a strong leader, the decision to go north instead of south? Walking, running, the forests, the snow, the mountains? Their being caught, the deaths, the leap into the river, their being saved?

15. Makros and Thax, the wolves pursuing them, Thax lying and cutting Makros’s leg, leaving him to the wolves? Thax, the killing of the boy, the end, the confrontation with Quintus and his death?

16. The final three, the injury to Bothos? His leg? Finding Arianne, her reputation as a witch, suspicions, the mushrooms and the previous information from the cook, her catching the fish, her stories? Saving the group, healing Bothos?

17. The arrival at the fort, empty, the siege, the fire, the Picts and the fighting, the old soldier being killed?

18. Finding the Romans, Bothos and his being shot by the guard?

19. Quintus, Thax’s arrival, his treachery, his death? Quintus and his being received by the military commander, the meal, the meeting and the decision to cover up the disaster for the Ninth Legion, poisoning Quintus? His confrontation with Drusilla, his escape?

20. The return to Arianne, an exile from Rome?

21. How satisfying a glimpse of part of Roman military history? The modern touches, the contrast between the elegant language of Quintus and his voice-over and the 21st century style of ordinary language of the men? Making the film contemporary?

THE RUNAWAY BRIDE

US, 1999, 115 minutes, Colour.
Julia Roberts, Richard Gere, Joan Cusack, Hector Elizondo, Rita Wilson, Paul Dooley, Christopher Meloni, Donal Logue.
Directed by Garry Marshall.

The Runaway Bride is an entertaining concoction, designed to bring Julia Roberts and Richard Gere together about ten years after their great success in Pretty Woman. This time Julia Roberts portrays a woman who has tried marriage three times but has run from the altar - although one time was on horseback. Richard Gere is a jaded journalist who writes a column for USA Today. When he gets a tip-off from one of the almost-husbands, he writes a piece condemning the runaway bride. She writes and indignant letter and he is fired.

When the journalist comes to the town, he encounters the young woman, her friends, her family. In fact, he ingratiates himself into the goodwill of everybody in the town - and, of course, falls in love with Maggie.

The film plays very well as a romantic entertainment, some sparring along the tradition of Spencer Tracy and Katherine Hepburn. Richard Gere and Julia Roberts work very well together. Joan Cusack offers her usual effective support. Hector Elizondo appears in all Garry Marshalls films, which range from Young Doctors in Love to The Other Sister, as well as The Princess Diaries.

1. The re-teaming of Julia Roberts and Richard Gere? Memories of Pretty Woman? A successful comedy? Romance?

2. The country setting, the town, the countryside? The shops and houses? The contrast with New York City, Manhattan, the magazines and offices, apartments and restaurants? The musical score – and the range of songs about marriages and weddings?

3. Julia Roberts and Richard Gere, their screen presence, chemistry, popularity?

4. The character of Maggie Carpenter, in the town, her relationship with her father, his alcoholism? Her expertise at the hardware store? Mending things? Her various friends, Peggy and the women in the town? At the beauty parlour and fixing things? The story of her marriages, her fears, running away? The videos of the different marriages, the hippie-style marriage, the church, on the horse? The marriage planned for Bob, her running away? The reasons for her phobias? The people in the town, taking this for granted? The journalists and their interest, the articles, the television coverage?

5. Ike Graham and his column, a Manhattan man? His chatting with the woman in the bar? The man offering him the story about the runaway bride? His following it up, writing the column, people’s reactions – the barman, women hitting him in the street with the paper? Maggie and her letter to the editor, the disputing of facts? Ike, being summoned by Elly, being fired? The fact that he was married to Elly, her impersonal judgment on him? Fisher, his place at the office, support? His offering Ike the opportunity to follow through on the runaway bride story?

6. Ike going into the town, his ability to ingratiate himself? His meeting with Peggy at the beauty parlour and charming her? His finding Maggie? His going round the town, interviewing Maggie’s father, Father Brian Norris, getting friendly with the coach? With Gill Chavez and his incriminating photo? Maggie just too late to stop him interviewing people?

7. Maggie going to his room, his catching her? Her agreement to do the interview, the financial demand? Paying for the wedding dress? Her relationship with Bob, Bob and his coaching at the school, the matches, her demonstrations with Peggy’s husband? The conversation with Peggy, about her flirting, her promising not to? Peggy and her accurate description of Maggie’s personality, her way of flirting, her doing this all her life?

8. The various locations, Maggie and Ike, their being together? Ike’s meeting the lady friends, their volunteering information? The granny and her blunt manner?

9. The preparation for the wedding, the celebration in the town, the roast, the speeches and their mocking Maggie, Ike’s reaction, his speech defending her? Her being upset, his reassuring her?

10. Maggie, the various men in the town, her going to the confessional, her not being a Catholic, talking with Brian, his memories of the past, her hurting him?

11. George and his visiting the town, meeting Ike, talking about Maggie?

12. Maggie and her straight talk with her father, his comments about her running away, her comment on his alcoholism?

13. The preparations for the wedding, the rehearsal, Bob, the kiss, his punching Ike?

14. The media gathering? Peggy and the friends all helping Maggie, hoping that she would go through with it? Bob and his training with eye contact, Ike and his supporting this? Maggie and her walking up the aisle, her smile, the hesitation, continuing? Her eventually running away?

15. Ike, Maggie, in love, their talking together? His comment on her character, her phobias? Her becoming more confident? His paying for the wedding dress?

16. The build-up to the wedding, the media frenzy? Maggie leaving, Ike chasing the Fed Ex van? People’s reaction? His return to New York?

17. Maggie’s visit, trying to be honest, her explanation of her fears, wanting to know Ike better, wanting him to know her? The lyrical scenes together? The comments on horseback? The horses? The final marriage – the mountaintop? Everybody happy?

18. The plausibility of the plot – but enough for a romantic Julia Roberts- Richard Gere comedy?

THE CALLING

UK, 2009, 109 minutes, Colour.
Brenda Blethyn, Emily Beecham, Susannah York, Rita Tushingham, Amanda Donohoe, Chloe Sirene, Susannah Harker, Pauline Mc Lynn, Corin Redgrave, Justin Salinger, Joanna Scanlon, Tom Stuart, Harriet Thorpe.
Directed by Jan Dunn.

The Calling is a small-budget British film that will probably not be distributed or seen widely. However, with its Catholic themes and the treatment, it comes within the range of a SIGNIS Statement.

The film is about a community of Benedictine Nuns in Kent, England, and a young woman who feels she has a calling to the contemplative religious life. What promises to be an interesting portrait of an enclosed community is not. (A helpful comparison is Michael Whyte's 2009 documentary on the Carmelite Sisters of Notting Hill, London, No Greater Love.) Diocesan Offices may be getting calls from those who want to complain about The Calling or from those who are asking for some explanations. Those who complain certainly have grounds for this. For audiences willing to give the film a go, they will probably be quite irritated and words like 'absurd', 'preposterous' and, at times, 'idiotic' may spring to mind.

The actual Benedictine Abbey of Minster in Kent provided help for the film and some groundwork for the plot. However, a glance at the Abbey's website shows how different the reality is from the melodramatics of the screenplay. Not that the screenplay is necessarily written in bad faith, though there are some shots at Vatican documents and official Catholic teaching on sexual issues (though Sister Ignatious (I'm afraid that's the way it is spelt for the film but this statement will take the liberty of writing the name correctly) makes the distinction necessary in speaking about abortion. She is anti-abortion but pro-choice at a crucial dramatic stage of the film; for her pro choice is, in essence, is a legal consideration rather than a moral one, a legal consideration for something which one does not approve, like St Augustine's supporting the legalisation of prostitution for the protection of the women and to try to preclude criminal elements exploiting the women, while he did not approve of it morally.) This is, in fact, a current issue for nuns in contemporary US health care discussions which may have influenced Jan Dunn in including it and discussion about contraception and the use of condoms in Africa.

One of the difficulties with the screenplay is the frequent use of the word, 'calling'. Catholics do not normally use that word. They use 'vocation' – and, in fact, this is the word used on the Minster Abbey website. This means that from the word go, or from the first use of the word 'calling', the film does not sound Catholic. Some of the ecclesiastical buildings look Anglican and the soundtrack chant is sung by the Canterbury Cathedral choir.

While important issues are interestingly dramatised, usually, they are outside the abbey of St Bertha (St Bertha!): the hostility of the mother of the young woman (Joanna/ Emily Beechum), her best friend's carping, ridiculing and offering advice whereas she is more concerned about herself than wanting Joanna to be happy and have her own peace of mind. The local parish priest is common-sensed and kindly. Psychological concern is rightly raised.

However, inside the abbey!

I suppose there are priests like Fr Kieren, the chaplain, a rather younger, self-righteous imperiously critical man. Yes, there are. However, by the end, he has a list of sins that have been exaggerated for plotline (and not every effectively).

The nuns are really a strange lot. Since they are Benedictines, in real life, the local bishop might have intervened more quickly (though he is not without skeletons in his cupboard, piling on screenplay exploitation and exaggeration). The Abbey would belong to the worldwide Benedictine Union and there would have been visitation and intervention long since. These sisters have a correct autonomy but locally are a law unto themselves.

Susannah York plays the prioress with huge emotional, psychological and vocational problems, ruling her small roost like someone who would have been rejected from The Nun's Story and who makes Meryl Streep's Sister Aloysius in Doubt, seem severe but normal. Her fate at the end is tragic but incredible. Rita Tushingham and Pauline Mc Lynn (who knows a thing or two about religious houses since she played Fr Ted's housekeeper on television) are two of the cattiest nuns you would wish not to meet, trying to drive Joanna out of the community. There is a sister who has been the victim of trauma and does not speak (but plays the organ beautifully) and there is a novice who has a dubious past and a dubious present. All in all, a dysfunctional lot who remind us of the classic film of a dysfunctional community of nuns, Michael Powell's 1947 Black Narcissus, the story of an Anglican community in India after the war.

Which leaves Brenda Blethyn's Sister Ignatious (Ignatius). She is the contact with the outside and deals with Fr Kieren, interviews Joanna and befriends her and is the novice mistress. Though at one stage, she goes quite out of character and upbraids Joanna for her vegetarian choices and calls on obedience for her to eat the meat before her. That seems quite out of keeping with Sister Ignatius who is reported to have joined pro-choice protests, can make a sly remark about the Vatican, and has her own past secrets.

By this stage, Catholic audiences may be wringing their hands or planning a letter to the editor. Audiences who are hostile to the Church will feel that all their suspicions have been justified (and some!).

As with so many films which deal with the Catholic church in some detail, there has not been nearly enough seeking of technical advice to make it plausible if not accurate – or, if sought, not understood or not heeded. The screenplay's idea of a postulancy, a novitiate and the nature of vows is not well-informed and details are not correct, making it all seem more unnuanced and severe than it really is. (The nuns of Minster do have details of their postulancy and novitiate on the website.) For those who have some experience of religious life, some of the hymns and canticles chanted in the chapel are not apt, though some scenes like that of communion or someone reading Catholic Life with Cardinal Murphy O' Connor on the cover are pleasingly real.

It's a small film which does not claim to be The Nun's Story – although it may have borrowed its ending from that film. It might have been much more interesting had it been more accurate and the cumulative melodrama both inside the convent and outside (there are a number of surprising deaths) not overdone.

1. The theme of vocation, calling? In the 21st century? Attitudes towards God, callings and religious life?

2. The film and the advice of the nuns in Kent? The director’s imagination, errors, exaggerations? Aspects of absurdity in the film?

3. The impact for Catholic audiences, religious audiences, non-religious, those hostile to religion and to religious orders?

4. The introduction to Joanna, the difficulties of the birth, her illnesses as a child, the operations, the growth, her pain, her parents’ concern, the nun visiting, giving the doll of the monkey nun? Joanna’s dependence on parents?

5. Growing up, ordinary, away from the church, her boyfriend, Vivian as her best friend, her studying to be a dentist, her parents’ expectations, their separation? The importance of Consuela and her place in the household? Her sense of a calling, wanting to act on it?

6. Consuela and the introduction, the voice-over narration, the ironic touches and comments? Her tone? Her stories, the legends of the saints, her Spanish background, piety and the saints, legends? Her advice for Joanna? Caring for her? Her advice for Joanna’s mother – and the mother critical of Consuela’s religious influence?

7. Joanna going to the church, going to mass, not drinking, the kindliness of the priest and his welcoming of her, the arguments with Vivian, the relationship with Clive? The build-up to the separation, Joanna going to the convent, Clive and his desperation, the money problems, his killing himself?

8. Joanna’s visit to the abbey, the encounter with Sister Gertrude in the street, her football support, pushing the car, her gruffness? Meeting her again in the abbey? The contemplative life, praying, the inner sense of vocation? Issues of God calling, psychological issues?

9. Brenda Blethyn as Sister Ignatius, prim but friendly, welcoming Joanna but being sceptical? Father Kieren and his outburst, Sister Ignatius and her going to protests, the abortion issue, pro-choice? Joanna’s introduction to the abbey – sitting and waiting, the flashbacks for her life and growing up, religious sense?

10. The details of abbey life, realistic or not, the very small community, the 21st century and the lack of vocations? Sister Hilda and her nasty tone, helping Joanna with the singing, but she and Sister Gertrude urging Joanna to leave? Gertrude and the alcohol? Sister Kevin and her silence, friendly, playing the organ?

11. The prioress as a person, her age, her physical pain, psychological disturbance, rigid manner, in the chapel, talking to Joanna, sceptical about her vocation, emphasising the strictness, blind obedience? In the refectory? Her own story, giving up the world, a sense of lack of vocation, wanting to be in the abbey, the changes over the years? Her collapse, the concern of the nuns? In her room, hanging herself?

12. Ambrose, Joanna seeing her with the man, her hold over her, Ambrose wanting silence, entering the abbey for security? Her past, Sister Ignatius’s help, her father’s abuse, the issue of abortion and adoption?

13. Sister Ignatius, the visit of the young woman with the child, the memories of her own pregnancy? The bishop’s visit, the discussions with him, the placing of the child? The effect on Ignatius’s life?

14. The detail of the convent, the meals, the reading from the Gospel of St Mary Magdalene and Jesus kissing Mary Magdalene, the transition to the Book of Exodus? The issue of being vegetarian or not? Chapel, chanting the Office? The rooms? The alarm, Sister Hilda waking Joanna? The work in the garden? The killing of the chicken?

15. Joanna accepted, her wanting to become a postulant? Her mother’s illness, the visit with Consuela? The mother’s collapse? The father’s visit?

16. Joanna’s pregnancy, the discussions, the visit of the bishop? The difficulties of the birth? Her daughter? Taking the child to her fiancé’s parents, the father’s outburst at the funeral, the reconciliation?

17. Ignatius and Joanna going to Africa, their work there? The hospital, the dentistry? Vivian helping?

18. The comments about Catholic teaching, abortion, pro-choice, contraception? Protests? Vatican statements?

19. Insight into the nature of a vocation or calling – or not?

MILLIONS

UK, 2004, 98 minutes, Colour.
Alex Etel, Lewis Mc Gibbon, James Nesbitt, Christopher Fulford, Alun Armstrong.
Directed by Danny Boyle.

It is very surprising to see a modern film that takes up religious themes as Millions does.

It is a feelgood film, helped immensely by the charming, naively innocent but shrewdly wise performance of Alex Etel as Damian, the younger brother of Anthony. They have recently lost their mother and have had to move house with their father (James Nesbitt).

Anthony says that Damian is weird. Damian seems weird because he sees things and people – and talks to them.

Damian knows all about the saints, can tell you their dates straight off and has no hesitation or embarrassment in talking about them. In fact, he sees many of them as they visit him in his cardboard carton cubbyhouse or at home. He knows he sees things, but he likes to talk to the saints, creating them as he imagines them, though the down-to-earth, smoking St Clare explaining about how she is patroness of television comes as a bit of a surprise.

Other saints who visit Damian include Francis of Assisi (as Damian sets free boxes of birds), Nicholas of Myra (who speaks in Latin and refers to his Santa Claus tradition), St Peter (Alun Armstrong) with a very interesting riff on the feeding of the five thousand as well as a shrug and pointing upwards, ‘I’m on the gate’, St Joseph who coaches Damian on how he should say his lines in the Nativity play and the martyrs of Uganda who explain to him the need for water in their country and how aid can help.

On a personal note, I had a great empathy with the film: two little boys whose mother had died (much the same age as my brother and I were when our mother died), trying to cope, deal with moves and changes, new schools, understanding their father.

Actually, we had lots of saints’ language in those days – after all I am writing of 1947 and the 1950s. Our mother’s anniversary of death was like a feast day. She was now a saint. It is the same with Damian. He asks the saints whether they have seen his mother in heaven. And it does not spoil the ending to reveal what he might have hoped for, that his mother finally appears to him – and the sceptical Anthony also sees her.

This knowledge of the lives and legends of the saints is not commonplace anymore. Millions reminds us that we could do with a bit more knowledge of and affection for the saints. We glimpse a copy of a book called ‘Six O’ Clock Saints’. That was obligatory reading for us back in primary school – they were even read aloud at boarding school before the weekly film screening. Joan Wyndham wrote many of these books. They delighted our imaginations. The IMDb biography of Frank Cottrell Boyce notes that he heard Martin Scorsese refers to The Six O’ Clock Saints and his childhood. It means that Millions communicates a great deal of children’s responses to religion and faith.

There is a lot more to Millions as well – especially in terms of money. When Damian discovers a bag full of money, he thinks it is from God and he wants to distribute it to the poor. His eager but non-worldly-wise ways of doing this are part of the humour and the sentiment. Young Damian is an idealist: a creatively imaginative little boy whose face to the world is principled and personal generosity, coping with the money, criminals and police and doing the right and honest thing.

For British audiences the whole film is idealist. In fact, it is more than a bit of a make-believe story because the setting is the UK changing from sterling to the euro! Frank Cottrell Boyce has written many screenplays, quite a number for Michael Winterbottom. His versatile portfolio includes Butterfly Kiss, Welcome to Sarajevo, Wonderland. More surprising is the choice of director, Danny Boyle, best known for Shallow Grave and Trainspotting as well as The Beach and Twenty Eight Days Later.

Millions is a very nice film. It may seem too nice to more ‘sophisticated’ tastes. But, audiences who enjoyed the story of Billy Elliot and other tales of youngsters will not be sorry they saw Millions.

1. The audience for this film? Children? Adults? Religious people? Non-religious?

2. The British countryside, the town, homes and schools, ordinary? The musical score?

3. The title, money, the speculations of Britain’s joining the Euro currency, the sense of urgency for the day of change, robberies and banks, money-mindedness, the contrast with charity and principle? Leslie Phillips and the euro adds?

4. Damien and Anthony, brothers, their age, the differing personalities? The death of their mother? Their father bringing them up? Their relationship with him? The differences, at school? Damien and his house in the field? The brothers and their squabbles? Anthony and his being older and superior?

5. The Catholic background to the film, the book of Six O’ Clock Saints? Damien and his beliefs, his imagination, his facts and figures and dates about the saints? A boy of principle? Remembering his mother as a saint and wanting the saints to reassure him that she was in Heaven?

6. The appearances of the saints and the comic touch? St Clare, her habit, explanation of the patroness of television, smoking and everything being possible in Heaven, the chat? St Francis and his habit, the birds and liberation, his talking about his own times? St Nicholas, his language and the subtitles, Damien understanding and asking questions, the distribution of the gifts, the puzzle about the money? St Peter, talking about Heaven, the jokes about the miracle of the loaves and fishes, the feeding the people with sardines and their supplying their own food, locks and bolts? St Joseph, his advice for performance, saying the line in the play, taking the donkey away? The importance of the saints in the Catholic imagination? Even the legends?

7. The mother appearing at the end, talking with Damien, Anthony seeing her, Damien and his chat, the chat about his father, ordinary holiness in ordinary life, the mother’s advice?

8. The stolen money, tossed out of the train, hitting the cardboard house? Damien and his reaction, God sending the money? His decisions? Counting the money with Anthony, the piles, the collage, their joy? Telling their friends individually and paying them? Taking the whole group of people in the street for pizza? The huge bill? The appeal at the school? Damien giving a thousand pounds? The reaction of the headmaster, that the boys had stolen the money?

9. Anthony, his money sense, calculating, his father wondering where he got it from? Damien and the contrast with values and wanting to give the money to those in need?

10. The teacher, nice, her device of the bin, the appeal for money? Talking through the microphone? Damien and his being impressed, giving the money? Her going to the house after the meeting with the headmaster, the relationship, Anthony opposed, Damien seeing them in the room? Her helping with changing the money into euros? The technique, Damien urgently wanting to go to the toilet, the cashier handing over the money?

11. The stranger, in the fields, threatening Damien, Damien saying that he had money? Anthony being shrewd and bringing the bottle of coins? The stranger’s reappearance, at the concert, Damien running away, the trashing of the house, coming to the house, the threats to Damien, the police catching him?

12. The concert, the Nativity play, the reaction of the parents, Damien as Joseph, his having to run away, St Joseph supplying the line?

13. The re-enactment of the robbery, the explanation of the techniques, the money in the bags, thrown from the train, collected?

14. The discussion about principles, the family and the money, Dad and his decision, the teacher as part of the plan, changing the money, going to the shops, buying everything? The police and the trashed house, later wondering about all the goods?

15. Damien, his taking the money, burning it? His meeting with his mother and its effect on him? Anthony seeing her?

16. The happy ending – a little allegory and fable about money and the contemporary world?

MALICE

US, 1993, 107 minutes, Colour.
Alec Baldwin, Nicole Kidman, Bill Pullman, Bebe Neuwirth, George C. Scott, Anne Bancroft, Peter Gallagher, Josef Sommer, Tobin Bell, Deborah Farentino, Gwyneth Paltrow.
Directed by Harold Becker.

Malice is an intriguing thriller with a strong cast. The screenplay seems to be related very strongly, though with no acknowledgment, to the 1990 television movie, The Operation.

The film has a Boston setting, hospitals, university. Alec Baldwin is a star surgeon and operates on Nicole Kidman, then being sued for malpractice. Nicole Kidman and Bill Pullman play a married couple, he the subdean at the university college, she involved with children. There is a serial killer murdering and raping young women in Boston. Bebe Neuwirth portrays the rather hard-minded detective.

The film also has some very strong cameos from George C. Scott as the doctor’s mentor, Anne Bancroft as Nicole Kidman’s alcoholic mother, Peter Gallagher as her lawyer. There is a cameo by Tobin Bell as the rapist. Ten years later he was to achieve fame, or notoriety, as the killer in the Saw series. One of his victims in the film is played by Gwyneth Paltrow.

There are various twists in the plot which are unexpected.

The film was directed by Harold Becker who made some films of Joseph Wambaugh police stories in the 1970s, including The Onion Field. He also made the strong dramas, Sea of Love and City Hall.

1. A satisfying drama? An interesting thriller? Anticipation of the twists or not?

2. Boston, the city itself, hospitals, universities, homes, squalid areas, affluent areas? Realism? The musical score?

3. The title and its application to Jed, Tracy, Andy?

4. The plausibility of the plot, doctors and surgeons, universities, police investigation, serial rapists? This as a background to the fraud and its set-up?

5. The rape story, the victims, the film focuses on the tracking of the victims? Paula Bell and her interview with Andy? His concern about her, the secretary and the call, going to the apartment, finding her dead? Detective Harris and the inquiries? Her hard attitude?

6. The link of the rapist story to the main story, the perpetrator taking the hair of the victims? Andy and his meeting with Paula? His being required to give DNA evidence, the report of his sterility, his wife’s pregnancy, his suspicions, leading to the fraud?

7. His being at the university, the lights failing, going to the basement, the search, the photo and the hair, Earl as the caretaker, his story, Earl attacking Andy, his arrest?

8. Tracy and her being with the children, meeting Andy, the seeming happy marriage, the renovations in the house, the costs, wanting children? Her links with her attorney, Dennis Riley? Andy’s suspicions? Tracy’s pains, abdominal? The pills? Her antipathy towards Jake, his coming to stay, his noise upstairs, her growing animosity, her collapse, the emergency phone call, the operation, Jake performing it, Andy permitting it? The removal of the ovary, the later information, Tracy’s reaction, her anger, suing?

9. Jake, the initial operation, the star surgeon, his manner, his arrogance, warning his assistant against him? The meeting with Andy, the school acquaintance, discussions, moving into the apartment, Tracy and her reaction, his women, at the bar, drinking?

10. The hearing, the testimony, especially from Doctor Kessler? His missing out on the job, the report, the discussions about his God complex? His anger? Dennis Riley and his interrogation, Jake’s lawyer and his trying to defend him? The importance of Jake’s long speech about the God complex and his conclusion that ‘I am God’? walking out? The impression he made? His talk of taking responsibility, it being his fault?

11. The interaction between Andy and Dennis Riley, Andy’s suspicions, Dennis telling the truth, the mention of Tracy’s mother, the truth about her being alive? The warning to take the whiskey to her?

12. The sequence with Tracy’s mother, her drinking, talk, the card trick, the story of Tracy’s background, the money, her father, her saving up the money and her father taking it, having a child?

13. Jake, his pleasant manner, urging Andy to Sue?

14. Andy, his own detection work, the background of the doctor that his wife consulted in Boston, the visit? Finding Jake and Tracy together? The plot? His putting the syringe in the bed?

15. His meeting with Tracy, her animosity, trying to soft-sell him, his demand for half the money?

16. Tracy and Jake, romantic, the plan, her talking too much, Jake warning her against loose ends?

17. Jake, Tracy’s flaw, her pulling the gun on him, persuading her to put it away but her shooting him?

18. Andy and his meetings with Detective Harris, their discussions, her job, tough, helping Andy, the confrontation with Tracy?

19. The threat to the child, Tracy wanting to kill the child, Andy and the set-up, the shooting, her arrest, seeing that her son was a blind boy?

20. An interesting character study, strong performances, intrigue and twists?

THE GORGON

UK, 1964, 83 minutes, Colour.
Christopher Lee, Peter Cushing, Richard Pasco, Barbara Shelley, Michael Goodliffe, Patrick Troughton, Prudence Hyman, Jack Watson.
Directed by Terence Fisher.

Terence Fisher directed Hammer Films’ leading productions on Dracula and Frankenstein in the late 50s. He also directed The Mummy and continued to direct features over the next twenty years for Hammer. He is said to have directed Peter Cushing in fourteen films.

This is a variation on Greek mythology, that of the Medusa and the gorgon.
The premise is that the gorgon is reincarnated in an early 20th century woman who goes to a German village, turning some of the inhabitants to stone. Peter Cushing portrays the doctor who realises the secret and is trying to protect the young woman, played rather demurely by Barbara Shelley (who is not so demure in other horror films). Richard Pasco is the hero infatuated with her. Christopher Lee portrays his professor, coming from Leipzig to investigate the situation.

Terence Fisher was a director of drama as well as horror and this is evident in this film. In fact, the horror elements are quite limited, the most effective being the victims turning to stone. Economic reasons meant that the Medusa/gorgon herself is not as horrifying as the screenplay suggests.

However, as a horror film it is quite effective, given the more elegant treatment by Terence Fisher.

1. The popularity of the Hammer horror films? The late 50s and the 60s? The trademark and audience expectations?

2. The German setting, the beginning of the 20th century? Yet the old-fashioned 19th century look? The village, the inn, the laboratories, the ruins of the castle? Authentic atmosphere? The musical score?

3. The premise of the gorgon, incarnate in a young woman in Germany in 1910? Audiences accepting this premise? The background of the gorgon legend, turning those who beheld her into stone? Her being defeated by decapitation – and people not affected by looking at her reflection only? How well used in this film?

4. The village: the young man, his fiancée, her turning into stone, the accusations against him, the police investigation? His killing himself? His father coming and confronting the police? The doctor? His own investigations, finding the gorgon, being turned into stone – but writing the letter to his son before he left?

5. Peter Cushing as the doctor, the laboratory? His being assisted by Carla? Her character, arrival in the village? Demure? Her amnesia? The doctor trying to protect her? Her memorising the legend of the gorgon to speak to Paul, the doctor wanting to read the letter his father wrote him? Her bewilderment about herself?

6. The victim’s father, his character, confrontation of the police, the police state? The people of the village attacking him? His confronting the gorgon, his letter, his death?

7. The police, suspicious, protective of the village? The confrontations? Especially with Professor Meister?

8. Ratoff and the institution, the doctor getting him to protect Carla? His attack on Paul?

9. The professor, his coming from Leipzig? His peremptory manner? Confronting Paul, suspecting the truth? Wanting to see the doctor? The conflict with the police? His trying to protect Paul, Paul’s infatuation, obsession, escape? The professor going to the castle, seeing Paul, seeing the gorgon from the back, the sword and the decapitation?

10. The gorgon herself, the makeup, less than horrifying? Her being transformed at the end into Carla?

11. The doctor, seeming sinister, not wanting to be sinister, his concern and protection, infatuation with Carla? His going to the castle, his being turned to stone?

12. The film as a drama about relationships and interactions? The horror elements?

THINGS TO DO IN DENVER WHEN YOU’RE DEAD

US, 1995, 115 minutes, Colour.
Andy Garcia, Christopher Lloyd, William Forsythe, Bill Nunn, Treat Williams, Jack Warden, Steve Buscemi, Fairuza Balk, Gabrielle Anwar, Christopher Walken, Michael Nikolosi, Bill Cobb, Glenn Plummer.
Directed by Gary Fleder.

A natty title which proves frighteningly true. This is a disturbing film, a film about evil people. It uses the conventions of the gangster drama but makes them ugly and real. Andy Garcia runs a video company recording messages of dying people for their family - playing them is one thing in Denver when you're dead. But he is an ex-seminarian, ex-gangster who is beholden to Denver's Mr Big (a most sinister Christopher Walken) and has to round up four petty criminals to do a job of roughing up someone. It goes awry, violently, and the criminals become targets of a ruthless hit man (Steve Buscemi). There are some grim violent sequences and the audience is offered a diverse range of moral points of view which gives the film some intellectual subtlety. Performances are excellent (especially Treat Williams). Jack Warden is a kind of chorus who tells the legends of the Denver gangsters. A picture of evil which, while visceral, makes you think. Evil, power and violence.

1. The title? The song title? Jimmy’s experience in Denver? Alive but dead?

2. Denver, the seedy areas, the gangster world, the bars and streets, the seedy cinemas, the baths, apartments? The musical score?

3. The gangster world, its brutal tone, language, crass, sex and bodily function talk, cruelty, deaths? Lies and untrustworthy words?

4. The focus on Jimmy the Saint, Joe and his telling the story? The listeners in the bar (and later the assassin listening)? Andy Garcia, screen presence, dapper, his suits, his past, the criminal jobs, changing? His relationship with the gangster boss? Summoned by his thugs, the audience, the impositions, the decision, gathering together his crew, a motley group? The job, menacing the boyfriend, the botching of the job? Jimmy knowing that he was dead? His concern about Easy Wind, about Franchise and his family, the hostility of his wife? Earl and his memories, Bill and his eccentricities, the stench in his room? His needing to help Lucinda? The contemplation of having a child for immortality? Joe and his reaction? His decision to do good and to be helpful before he died?

5. The gangster chief, Christopher Walken’s menace, quadriplegic (and the memories of his past and dancing)? His concern about his son, loving his son? His brutal henchmen? The summons to Jimmy, the task, the motivation to rough up the boyfriend, his angers? His brutality towards Jimmy? His crass sex talk? His breaking his word, killing all his enemies?

6. The introduction to the film, Bernard, hanging around the playground, approaching the little girl, being apprehended? His father, concern, his girlfriend, harassing the boyfriend? Bernard meeting Jimmy, Jimmy killing him as revenge for his father’s actions?

7. Earl, his age, experience, sharing his memories? The assassin approaching him, his quick death?

8. Franchise, his friendship with Jimmy, their discussions, Jimmy’s visit to the home, the hostility of the wife? Jimmy’s concern, asking the chief not to kill Franchise? The violence of his death, the reaction of his wife?

9. Bill, living alone, keeping vigil, crass in his behaviour, chatter, the smell of his apartment, his bodily function discussions, the confrontation with the assassin, killing him, being shot by the dying assassin?

10. Easy Wind, his participation in the group, his death?

11. Lucinda, on the streets, young, her personality, her being accosted, the bad eye, Jimmy taking her to the boardroom, assaulting the executive who had assaulted her?

12. Dagney, Jimmy’s attraction, discussions with her, her boyfriend, the relationship? Her sympathy for him? His letting her go?

13. The build-up to Jimmy’s death, with Lucinda, her being pregnant, leaving Denver? Joe and his continuing to tell the tale?

14. The final Paradise sequence, everybody reunited, tropical happiness – in the vein of The Shawshank Redemption?

15. A character study, a crime film, portrait of gangsters? Possibilities of redemption?

MARY SHELLEY’S FRANKENSTEIN

UK/US, 1994, 123 minutes, Colour.
Kenneth Branagh, Robert de Niro, Tom Hulce, Helena Bonham Carter, Aiden Quinn, Ian Holm, Richard Briers, John Cleese, Robert Hardy, Cherie Lunghi, Celia Imrie.
Directed by Kenneth Branagh.

Mary Shelley’s Frankenstein followed in the footsteps of Bram Stoker’s Dracula, both produced by Francis Ford Coppola and his Zoetrope Studios. They were attempts at capturing the atmosphere of the original novels rather than simply yet another version of the traditional movie stories.

The film divided opinion at the time, critical review being quite negative, much of the popular reviews also hostile. However, in retrospect, a number of people have found the film to be much better than they first thought.

Kenneth Branagh has directed the film with great vigour, often using a moving camera, some accusing it of being just swooping. However, with the editing and pace, there is an urgency about Victor Frankenstein’s story, his motivations for creating the creature, his accepting of the consequences of what he had done.

The film is beautiful to look at, lavishly produced, with beautiful mansions for the Geneva home of the Frankensteins, university atmosphere in the streets of Ingolstadt for Frankenstein’s studies as well as his laboratory experiments. There is a prologue in the Arctic and the film ends in the Arctic.

The film shows the hubris of Victor Frankenstein in wanting to create life. However, it gives him a personal background, his grief at the death of his mother in childbirth, his wanting to save life. However, he becomes obsessive, critical of the professors at the university (exemplified by Robert Hardy) and is attracted by the experiments of another professor, played in a very subdued manner by John Cleese. Once the obsession takes hold, and the experiments with galvanising electricity are successful, he creates his creature. However, he underestimates the life of the creature who becomes more human with kind human contact but also experiences the hostility and hatred in human nature and becomes vengeful himself, wanting to revenge his creation on Frankenstein as well as Elizabeth his wife (Helena Bonham Carter). There is a good performance by Tom Hulse as Henry, Frankenstein’s associate. Cherie Lunghi is Frankenstein’s mother, Richard Briers his grandfather, Ian Holm his father.

The performance by Aidan Quinn as the captain of the ship in the Arctic is perhaps too American-accented. However, no American accents in Robert de Niro’s performance as the creature, an interesting attempt to combine images of horror with humanity.

There is a strong score by Patrick Doyle who had written the music for most of Kenneth Branagh’s films.

With Bram Stoker’s Dracula, directed by Coppola himself, these two films are lavish representations of 19th century novels and their exploratory ideas about the meaning of life, the role of God, the pride of humans usurping this role.

1. The literary tradition of Mary Shelley’s novel? The cinema tradition? This film in the line of the literature, of the cinema?

2. The lavish production style, the strong cast?

3. The film as a serious drama, the familiar plotlines from the horror series, but stronger themes? Life and death, grief, God, redress, overreaching oneself, hubris, the consequences of one’s actions? The Frankenstein story as a warning against playing God? Overreaching oneself in science?

4. The work of Kenneth Branagh, his performance, direction? The film as a spectacle, the film as drama? The camera movement, tracking and swooping? The editing?

5. The score, its range of moods?

6. The prologue, the Arctic, the 18th century, the ships and exploration, quests? The captain and his ambitions? Driving his men into the unknown? The iceberg looming, the hit, the effect? Fear, the talk of mutiny, the stances of the captain? The noise from the ice, the distant figure, Frankenstein coming on board, his treatment, condition, his story and warning?

7. Victor Frankenstein, as a child, the arrival of Elizabeth? The mansion in Geneva, the details of wealth, the happy life? The children playing?

8. Young Victor, his prospects? The portrait of the family, the father and his joy, the mother and her pregnancy? The various servants? Victor and Elizabeth growing up together, study, dancing, going out into the fields and the experiment with electricity and lightning?

9. Victor and his mother’s death, childbirth, William? His grief, emotional reaction? Finding a purpose in life, research for creating life? His going to Ingolstadt to study? Leaving Elizabeth behind?

10. The lectures, the arrogant and conservative professor, the laws of physics? Frankenstein in the upper gallery, intervening? His common sense but his seeming arrogance? Professor Waldman at the sides, Frankenstein watching him? Waldman and his laboratory, experiments, frogs and animals, electricity and creating life? Their discussions? The people turning against Waldman, his death?

11. Frankenstein and his accommodation, the laboratory? His opposition to Professor Krempe? Krempe’s hostility? The various students? The friendship with Henry, sharing with him, discussions, Henry and his perspective on being a doctor, his fainting at the autopsy? His warnings to Victor?

12. The laboratory, the detail of getting the various parts, putting them the film, the philosophical talk about life, the growing obsession, the electricity, the creature and the delay, alive?

13. The creature, the creature’s appearance, stirring, getting out of the laboratory, threatening Victor? The creature’s mind the creature’s body? Clothes, appearance, people’s reactions, walking in the town, people frightened? The creature’s emotions, propensity for violence? Intervening in problems and showing brutality?

14. Victor and the background of the plague, his decision to stay, Henry warning him, Elizabeth visiting him and pleading? His eventual return to Geneva, fleeing the monster, its effect?

15. The creature, getting information, absorbing it? Becoming more humanised, with the family, the possibility of gentleness, the family afraid? His travelling through the mountains to Geneva?

16. The creature in Geneva, Elizabeth and her reaction? The creature and its needs, telling Frankenstein he wanted a wife? The encounter with William, William’s death, the search? People’s reactions, the fear? The creature wanting revenge? The importance of the sequences of discussions with Frankenstein, audiences understanding the creature, its lack of origins, wanting a father, wanting a companion? Frankenstein and his not taking account of any of these considerations in creating the creature?

17. The search for William, the arrest, the execution of the woman, taking her body?

18. Elizabeth and the creature, the flames and her death, Frankenstein’s decision, the experiment? Taking Elizabeth’s head, the body of the dead woman? The laboratory, the electricity, bringing the woman to life? The effect, Elizabeth’s reaction, desperate, the fire?

19. The creature, escaping to the north, Frankenstein following the creature?

20. Frankenstein’s death, the creature coming to the boat, the funeral, the creature not having a name, seeing Frankenstein as his father?

21. The captain and the decision to return home? The warning theme against arrogance?

22. A different version of the Frankenstein story – the bypassing of the conventional horror aspects to go to the core of the themes and the meaning?