PRIMARY COLORS

US, 1998, 143 minutes, Colour.
John Travolta, Emma Thompson, Adrian Lester, Kathy Bates, Billy Bob Thornton, Paul Guilfoyle, Maura Tierney, Alison Janney, Chelcie Ross, Caroline Aaron, Tony Shaloub, Rob Reiner, Larry King, Geraldo Rivera.
Directed by Mike Nichols.

Primary Colors was a cause celebre when 'Anonymous' published a novel that resembled Bill Clinton's presidential campaign. On screen, at this time of attack on the president for his philandering, yet of overwhelming public support, John Travolta shows us what the public and private Clinton might be like. And Emma Thompson for Hilary Clinton.

Director Mike Nichols and writer Elaine May have worked together for decades. This collaboration and a top cast which also includes Billy Bob Thornton and Kathy Bates is a funny and depressing look at ambition for public office and the PR (including promotion as well as cover-up) efforts that are possible in a democracy. There are tears, hearts and flowers and ruthless lying. It is not merely a particular president who is on show here but the processes for gaining public office. As satire it is expertly funny. As realism it is alarming.

1. A film of the 1990s? Bill and Hillary Clinton? The two campaigns? Their success? An expose, their personalities? Imagination of what might have been? In hindsight of the success of their subsequent careers, especially Hillary Clinton?

2. America in the 1990s, the southern states, the governors, the style of government? The campaigns, in the range of states? From New Hampshire to Florida? The rallies, the meetings, the campaign headquarters, the private campaign, the public campaign? Musical score – and songs, You Are My Sunshine…?

3. The title, expectations, American elections, the primaries? The success of the novel? The anonymity of the author? The subsequent revelation of Joe Klein(**??) and his career as a Time Magazine political correspondent?

4. Audience response to Bill Clinton, as governor, as president, as a person, his flaws, sexuality, the impeachment? Popular, populist? People accepting him with his faults? The comparisons with womanising presidents and candidates? Scandals and exposes? Forgiveness, acceptance? John Travolta’s performance embodying all of this?

5. Susan as the governor’s wife, as a strong campaigner, as first lady? Dignity, ability, Hillary Clinton and the later senate success, as secretary of state? The parallels with Susan? Accepting her husband, her devotion to family, a cool and cold manner, yet politically effective?

6. The audience seeing the proceedings through the eyes of Henry Burton? The black man? The status of his grandfather, everybody quoting and respecting him? The comment on his growing up as privileged? His previous campaigning, willing to give it up, not liking the candidate, believing him? His observing Jack Stanton, with the students, listening to the stories about literacy, their eloquence? Everybody moved? The teacher, his response but not being sure? Pressurised by Howard, by Daisy, the persuasion, taken for granted that he would accept? His relationship with his girlfriend, her work, civil rights, her attitudes towards the candidates, his impatience with her? His giving up his job, his idealism, naivety? Going on the plane, not being able to phone his girlfriend, her anger and hanging up? Accepting the job? The later encounter with the girlfriend and her questions about Jack Stanton’s arrest, Chicago, the deal with the mayor? Henry as a flawed man, his interpretation of Stanton, his changes of stances, audience judgment on him – and with him and through him?

7. The staff, Howard, his friendship, determination, advice, wanting Henry to join? Handling the difficult cases, the babysitter’s pregnancy and discussions with her father? Daisy, her skills, hard work, advice, her sexual relationship with Henry? Her strong performance on television with Larry King, pleading for Jack Stanton? Her enthusiasm, yet her leaving? Jack wanting her to come back to the campaign after the success?

8. Billy Bob Thornton as Richard, strong character, reputation, political skills, working hard, cynical remarks, his strong intuitions about situations, motivations for decision, foretelling what would happen? His clashes with Henry? Admiration for Jack, Jack relying on him? His using material coming in, wanting to use dirty tactics? Not knowing about the babysitter’s pregnancy? His friendship with Daisy and then with Henry? His decision to leave? Invited back to campaign once the candidate had success?

9. Libby, her story, campaigning in 1972, friendship with Jack and Susan, their idealism, Jack telling her not to use dirty tricks or negative reaction? Her breakdown? In an institution, people’s comments on her? Her putting on weight, her direct personality, blunt way of speaking? Accepting the job, knowing how to ward off crises? Picking the staff, picking Jennifer? Her relationship with Jennifer, lesbian? Her watching the campaign, her enjoyment of it? Her standards? The issue of the pregnancy – and the false blood test but knowing that Jack thought it was possible that he was the father? Her investigation on the governor, taking Henry with her? The connection with the editing of files? The fabrication of the tape on Larry King? Her taking back the report, talking frankly with Jack and Susan, remembering the past, taking a stance, not wanting to be negative, her disillusionment with Jack and Susan’s reaction, killing herself?

10. The teacher at the beginning, her enthusiasm about learning, slipping on the steps, connecting with Jack, the sexual encounter? The babysitter, trusted at home with the son? Her father as a friend of Jack’s? The pregnancy, the father visiting, Howard and Henry visiting him, the money offer? The look from the mother? The test, the false test, Uncle Charlie’s blood sample?

11. Jack and his smooth style, with the learning difficulty students, his long story about Uncle Charlie and his need for literacy (and the truth that Uncle Charlie was helping with the campaign)? His friendship with people, chatting at the bar? The factory, his speech, telling the truth, their enthusiasm? On television, folksy, able to argue the point? His smooth talking and affection for Susan?

12. The debate, pleasant, Senator Martin, taking advantage of him, confusing him, the quips, winning? The points for the campaign? The chat show in Florida, talking about celebrities, his mother in Las Vegas, the phone call from the senator, the confusion, the senator’s collapse – and his wife going on television, the governor and his offer of blood (and the Stanton camp wanting to do something similar)?

13. Frederika, going on television with the senator’s wife, taking his place, the public response, the risk, the offer of giving blood and audience response to it? His collapse in 1978, withdrawal from the race, the alleged reasons? The investigation, Libby and Henry going to the sources, the information about the cocaine, the man coming out of prison and dying with AIDS, the sexual relationship, the senator and his concern about his family, cocaine causing his marriage collapse, his sons in university and his not wanting them to know the truth? Jack coming to visit him, talking, being honest, not using the information but the governor knowing that the information could be tracked down? The consequences?

14. Hoping for the vote, despondent and thinking of withdrawing during the first primary, Jack in the streets canvassing votes in the rain? Coming second? The chances for success?

15. Henry and the effect of the campaign, his enthusiasm, his error about the governor giving the speech and the son’s advantage, Jack and his letting loose in anger? The reconciliation, the phone call, wanting him to have the weekend off? Henry and his relationship with the other members of the team, hardworking, using his ingenuity, listening? His former girlfriend and the interjection, her finding out the information about Jack in Chicago? Susan’s hairdresser, coming forward with the tapes about the affair? Their being played on the media? The effect on Libby?

16. The hairdresser and the lawyer, the actual tapes, Susan and her reaction? Libby going to the editor? Taping Larry King from his cell phone? Constructing a false tape? His reaction on air? Daisy and her going on television and speaking strongly to counter the effect? Jack and Susan appearing on television as a couple, pleading their cause – and Henry amongst ordinary people in the bar listening to the comments, especially about Susan’s hair?

17. Susan, strong, love for her family, their son and the phone calls, the Thanksgiving dinner, Jack’s mother, the party, inviting poor people? Being upset, keeping her dignity as well as her anger with her husband, coping, slapping Henry’s face for not giving her the information, her not living up to Libby’s expectations? Wanting to win?

18. Jack, representing the US in the 1990s, Clintonesque?

19. The victory, his speech, everyone present and applauding?

20. American democracy, the people and the causes, the votes, the Democrats and the Republicans? Campaign processes, primaries? The possible candidates and their qualities? Making a good president – even if flawed? This film coming out pre-George W. Bush, pre-Barack Obama?

WALLANDER: THE MAN WHO SMILED

UK/Sweden, 2009, 90 minutes, Colour.
Kenneth Branagh, Rupert Graves.
Directed by Andy Wilson.

This particular episode of Wallander focuses very much on Wallander himself. It takes up the sequences in Faceless Killers where he shoots the racist. He has opted out of police work for several months and disappeared. His daughter cannot find him. When a friend approaches with some information he refuses to help. Then the friend is found hanged. While Wallander pursues the investigation, with the help of his usual crew, he finds himself confronted by issues of violence, his own humanity, his willingness to be a policeman or not. There is also an episode with his father whose mental health is deteriorating.

The film has the usual cast“ but has Rupert Graves as a very effective smiling villain.

1. The focus on the character of Wallander, the mystery and his investigation? Hampered by his self-reflection and moroseness?

2. The focus on the crimes, the detail, Wallander'™s becoming gradually involved, the interviews, the clues? His recovery?

3. The bleak countryside, the anguished man driving, the man in the hood sitting at the top of the hill? The castle, the contrast with the world of lectures and cafes, the police precinct? The musical score?

4. The crime, the old man, the hooded killer, the set-up of the accident, the son and his appeal, desperate, found hanged? The later deaths, the lecturer, her uncle?

5. Wallander and the effect of his shooting the racist, the flashbacks from the previous film? His brooding, going away, refusing contact? Off the police force? His motives for refusing his friend and the investigation? The news of his death? The secretary accusing him of irresponsibility? Taking up the investigation, the complexity of his motives, the effect? His co-workers, the authorities, Magnus and his case, the briefing?

6. The interview with Hardiman, friendly, his wealth, his work in Africa, with the children, the charities, feeling that the children were his family? His being cooperative? The puzzle of the postcard with the image, the death threats?

7. Anders'™ story, his killing the girl in an accident, the parallel with Wallander''™s feelings about shooting? Anders as security guard for Hardiman, praising him, wanting to get back on the police force? Giving the information, having a drink with Wallander? Their talk, Wallander'™s promise? His help with the information about the helicopter, his shooting the killer, talking with Wallander, accepted back in the force and Wallander enabling him to die happy?

8. The reconstruction of the crime, the autopsy, the interviews?

9. The woman and her charity work in Africa, the lecture, the slides, the information about mutilations, deaths? Body parts? Wallander calling to her, her being killed? Tracking down her uncle, the information, his death?

10. The accounts, the discovery of the boxes for the body parts?

11. Hardiman, the confrontation, issues of life and death, his making decisions, his benign view of himself?

12. The final confrontation, the killer and the helicopter, his death, Wallander shooting Hardiman in the leg? Anders'™ contribution?

13. Linda, no contact with her father, his not visiting, her challenge to him about relating to the family?

14. Wallander'™s father, the hospital upset, hitting his son, Linda visiting her grandfather? The bonds between father and son?

15. Police work, Wallander and putting bullets in his gun, the shooting? His recovery, going back to the office prepared for work?

WHERE THE WILD THINGS ARE

US, 2009, 101 minutes, Colour.
Max Records, Catherine Keener, Mark Ruffalo.
Voices of: Lauren Ambrose, Chris Cooper, James Gandolfini, Catherine O’ Hara, Forest Whitaker, Paul Dano.
Directed by Spike Jonze.

This is a pleasing didactic fable for younger children and for their parents. It is an adaptation, with the author's approval, of a very popular 1963 story by Maurice Sendak. It has been amplified to create the detail and atmosphere of the island where the wild things are – and it was filmed in and around Melbourne.

Max Records is believable as the young boy who lives in his own fantasy world – there is a nice scene where he is lying on the floor making up a short story for his mother (Catherine Keener) to type and he tells it quietly and with feeling and imagination. But, while Max plays on his own, his older sister does not stand up for him when her friends destroy the igloo he has built, and even his loving mother finds him rude and self-centred with her visitor (Mark Ruffalo). She says he is out of control, and he runs away.

This is the realistic setting for the fable to begin as Max sails away, over the ocean, and arrives, through the storms, at an island which is inhabited by very large, odd-looking characters, wild things, who resemble many of the oddball characters who appeared in the Muppet Show. This is understandable as these creatures were built at the Jim Henson studio. The creatures would not be out of place in Alice's Wonderland or on the other side of the looking glass.

The Wild Things are generally big and bouncy (very bouncy as the earth reverberates when they land) and resemble animals, birds and mutant creations. But they have personality and are voiced by a fine range of actors: James Gandolfini, Lauren Ambrose, Catherine O' Hara, Chris Cooper, Paul Dano and Forest Whitaker. Director Spike Jonze (himself a fantasist in his films with writer Charlie Kaufman, Being John Malkovich and Adaptation) invited the actors to perform their roles while they were being recorded and then asked the actors who were to be inside the creatures to re-play what they saw the voice-ctors doing.

So, who are the Wild Things and what does Max discover by living with them?

It soon becomes clear that they represent a lot of the feelings inside Max himself, the out-of-control side, the angry side, the 'dumb' side, the neglected side, the spiteful side, as well as the kinder side. While adults will pick this up fairly quickly and appreciate that the creatures are representing what C.G.Jung, for instance, characterised as 'the shadow' side of the person, the children will enjoy the looks, antics of playfulness, jumping and bouncing, earth fights, punching holes in trees, making a fort that looks like an enormous ball and believing Max is their king. But, children will soon realise that one of the characters, the leader, Carol (Gandolfini), is behaving moodily and stupidly just as Max did with his mother. And then, Max, because he is seen to be in charge, starts to sound like a parent, frustrated with Carol. The other Wild Things help Max to understand himself better, be honest with himself and then, to calm down and realise what family is, despite the difficulties – and he is ready to sail home.

The film looks very good. The characterisations are entertainingly offbeat. The pace is measured enough for younger children who are alert to realise what is happening to Max and to appreciate the message of this fable.

1. The popularity of the books since the 1960s? An adaptation for the screen? Visual imagination? The insertion of the songs, the significance of their lyrics?

2. The children’s audience, the story, didactic and moral?

3. Parents, identifying with the mother, hard work, care and love, difficulties, the hardships for the single parent?

4. Max’s story: the initial chasing of the dog and wrestling with it, his being a wild thing? The snow, alone, making the igloo, the snowballs and the fights with his sister and the boys, their crashing the igloo? His tears? His sister on the phone, ignoring him, not supporting him, the boys ignoring him? His being hurt, his upsetting his sister’s room? His mother, arriving home, the clean-up? Wearing his animal suit?

5. Max at school, the world, the explanations, the sun to die? Grounds for imagination?

6. Max’s mother, busy, her job, Max telling her the story under the table, her typing it out? Her friend, attention to him, not to Max? The meal, wanting the sister to set the table? Max’s tantrum, on the table, out of control, biting his mother?

7. His running away, through the city streets, into the woods, the sea? The blend of reality and imagination? The boat, sailing, drifting, the storm, the storm and its significance as his own inner turmoil, climbing the cliff, seeing the fires? The island itself?

8. The sound of the wild things? The island, its appearance? The monsters and their appearances, their characters, the different speaking voices, the creatures and the creature suits, the actors inside? The blend of monsters and animals? Life on the island, the community, Carol and his destroying the homes? K.W. and her walking away? The tradition of eating the kings? The initial hostile response to Max?

9. Max and the wild things, meeting them at night, the dark, his fears, then unafraid, The welcome, his telling the stories about kings, magic and powers, Vikings? Their giving him the crown?

10. The wild things and the psychological embodiment of the good and bad aspects of Max’s character? Anger, loneliness, wilfulness, play, silent and ignored, wise, gentle and mothering? Max and his dealing with them?

11. The fire, the chaos, the fights, what Max called the wild rumpus? Carol in charge, his manner? Falling, smashing things, crazy? K.W. leaving the group? Carol and his talking with Max, K.W. leaving and his sulking? His paranoia, feeling people didn’t care for him?

12. Max, running and screaming, hitting the tree? Assembling the group, Carol and his welcome, the competitive destruction between the two?

13. Douglas as sensible, Ira as silent and digging the tunnels, the vision of the big dog wandering the desert, Alex, K.W. and Bob and Terry, Judith and her aggressiveness, love for Ira? The discussions about eating Max? His telling them to be still, their asking why, his giving the answer, “Because”? His becoming king, Carol taking him from a tour of the kingdom, explaining everything? Carol as genial and friendly?

14. The action, for the community, running wild, wild and free, everybody piling on the other? Building the fort, the efforts, collecting the stones, the different jobs, Carol in charge? Playing at war, the clod-bashing? The different reactions and some of the monsters withdrawing?

15. The crises, Max and his having no answers, the mime and people dismissing it, his disappointing them, Douglas knowing the truth, Alexander’s comments? Carol and his being upset at his having favourites? His wanting the secret door in the fort, Carol’s reaction and punching a hole in the wall? Carol and his reactions - the pursuit, his being out of control?

16. K.W., saving Max, swallowing him? Her being a good listener, serving as the confessor for all that Max felt?

17. The visuals of the fort, the enterprise in building it, Carol’s place? His mini fort, the artistry, the water, the little creatures? The concerns of the monsters with the drawing out of the brains and being destroyed?

18. Max’s final decision to go home, the boat, home and happy with his mother?

19. The parallel between Max learning about family, care and responsibility, and the irresponsibility of Carol mirroring him? The final moral of the tale for children, behaviour, parents, aware of their children’s anger, love and care?

IL GRANDE SOGNO

Italy, 2009, 101 minutes, Colour.
Riccardo Scamarcio, Laura Morante, Jasmine Trinca, Luca Argentero, Silvio Orlando.
Directed by Michele Placido.

Il Grande Sogno is a semi-autobiographical film by actor-director Michele Placido.  It is set in 1968 in the turbulent political times of protest and police intervention.  Placido himself came from the south, wanted to be an actor, joined the police, did some of the things that are played by Ricardo Scamarcio.  He was an undercover policeman, saw a different side of the protesters, fell in love with a young woman, played by Jasmine Trinca, who opens his eyes to a different perspective on change in politics and in society.  The film has also some documentary touches with material from the events of 1968 including Martin Luther King’s assassination, the election of Richard Nixon, the Vietnam War, Che Guevara…
 
The film is interesting for someone outside Italy in portraying and dramatising this period.  However, many Italians were not so impressed, perhaps focusing too much on the career of the director and their reaction to the stars who appeared in many Italian films at that time.

1.Italian history, the 20th century after World War Two, the 1960s and the world, revolution and protest?

2.The consequences of 1968 – and the information about what happened to the characters later? Forty years later?

3.The director and his career, the film as autobiographical? Annotating 1968 from forty years on?

4.Audience knowledge of the 1960s, the revolutions, students, protest, sit-ins? Non-violent and violent protests? Police and government response? The political implications? Communism?

5.Rome in 1968, the four seasons? The city, homes, wealthy society, student digs, the university, theatre? The action and riot sequences? The police? Atmosphere and score?

6.The family and its wealth, conservative, patriarchal, the mother and her life in society, the political background? The father and the permissions for Laura to go to demonstrations or not? The father in the household, on the holidays, his illness, hospital, his death? The mother and her concern, an emotional woman, not comprehending what was going on?

7.Laura and her age, science studies, involved in the protests, going out in secret, staying out, the reactions at home, at the meals, with her younger brothers? The exam and her mocking the examiner, going to hear the speeches, meeting Libero? The bond with him? The encounter with Nicola, his helping her, the fall, in love, handling the situation at home or not? The police, her disgust at discovering the truth about Nicola? The holidays, with the family, the lost dog? Becoming more and more active, the relationship with Libero, uninhibited? Seeing Nicola again, the change? Going to her father in hospital? The crisis with Andrea? Trusting Nicola, the authorities betraying him? Portrait of a young woman at the time? In California forty years later teaching science?

8.The two boys, the bond between them, their relationship with Laura, the family, the meals, defending Laura? At the baptism, Andrea’s reaction, leaving? His relationship with Isabella? The boys on holidays with the family? Andrea learning to make Molotov cocktails, hiding, the arrest? The two brothers becoming writers and politicians?

9.Libero, his communist background, as a leader, travelling around Italy, his relationship with Laura, the arrest?

10.The older student, the mockery of the exam, his working with Libero, anti-Nicola? The Stalinist – and the protest and his death?

11.Nicola, the background of his family, his life, sexual relationships, the hotel in the city, policeman, defiant, orders? The interviews, his discussion about poetry – and the policeman who recited the poetry? Work, having to infiltrate, use his performance skills, the effect, changing sides, the encounter with Laura, falling in love? Back to the police, Laura’s discussion, his telling the truth? Going for the audition, Madelena and her asking him to speak in dialect, the relationship with her, learning from her? Her experiencing the protests of the students? Loving Laura, joining with Libero and Laura, feeling at home? Acting? The end, his trying to help, his police friends – and the authorities’ betrayal?

12.The portrait of the police, tough, training, attitudes? The brutality? The leadership and their tactics? Police and their right-wing politics?

13.The portrait of 1968 in retrospect, the passion, the change, the effects?

THE GHOST (THE GHOST WRITER)

UK/France, 2010, 128 minutes, Colour.
Ewan Mc Gregor, Pierce Brosnan, Olivia Williams, Kim Cattrall, Timothy Hutton, James Belushi, Tom Wilkinson, Eli Wallach, Robert Pugh.
Directed by Roman Polanski.

Robert Harris is a best-selling writer whose conspiracy books include Fatherland and Archangel. He has collaborated here with Roman Polanski in adapting his novel, Ghost, for the screen and has said that in refining, cutting and selecting for the screenplay, the film has some better features than the book. Whether that is true or not, The Ghost is an absorbing contemporary thriller with fascinating political suggestions and implications.

First of all, it is not about Tony Blair. Well, not quite. Harris has said that he had the basic idea before Labour came to power in the UK in 1997. But, with comments about Tony Blair and war crimes in the aftermath of the invasion of Iraq, Harris had found a situation to build his novel on. In fact, the screenplay becomes quite explicit at times about the repercussions of the invasion of Iraq for the British and the Americans and the role of the CIA.

Harris has also expressed an admiration for the films of Alfred Hitchcock with their ordinary and central character sometimes caught up in a world of intrigue and international espionage. This film can be described as in the vein of Hitchcock suspense. Roman Polanski showed himself a director in this genre with his 1988 Frantic.

Opening with the seemingly accidental death of the ghost writer of the former British Prime Minister's memoirs, the film quickly introduces Ewan McGregor? as the writer being courted to revise and rewrite the memoirs. Ewan Mc Gregor has proven himself quite an engaging screen presence in both serious and comic films and is able to take the weight of the film, appearing in every sequence.

Needless to say, there are complications, twists and some sinister chases and a writer, not used to being in this kind of danger, having to show bits of action and heroism that surprise him.

Pierce Brosnan has proven that he has an acting life after James Bond (well, not a sining one after Mamma Mia) and is very good as the irascible and genial former prime minister. Kim Cattral has a more serious role than usual as his minder and Olivia Williams relishes her role as the wife, a hard woman, strong, with a touch of jealousy but a power behind the throne.

The film is also enhanced by a number of important and effective cameos: Tom Wilkinson as a professor, Timothy Hutton as the official attorney, James Belushi as the head of the publishing company, Robert Pugh as the former Foreign Secretary and a welcome appearance by 93 year old Eli Wallach.

As the ghost writer uncovers more and more information, more possibilities for conspiracy theories arise until a good dramatic ending which we may or may not have been anticipating but which makes some sense (sinister sense) of what has been going on.

1. The popularity of Robert Harris’s novels, transition to the screen, the adaptation for this film? The work of Roman Polanski?

2. 21st century politics, in the United Kingdom, the United States, the Middle East? Policies, the CIA and its agents? The pressure from the United States?

3. The American settings, Massachusetts and Kennedy territory, Martha’s Vineyard and the island, the coast, homes, hotels, mansions? The musical score?

4. The credibility of the plot? The revelations about the CIA (and comparisons with attitudes towards KGB infiltrators)? The British prime minister, policies, the influence by the CIA agents? Political reactions and denunciations? Human rights issues? War crimes? The courts? The possibility of the arrest of the ex-prime minister, staying in America, immunity?

5. The relationship of the plot to Tony Blair and his career? Similarities and differences, Iraq and Afghanistan? War crimes accusations?

6. The opening, the ferry, the cars leaving and the car stranded, the body washing on shore? The repetition of the car episode with the Ghost? The Ghost and the information about the tides, the old man, the woman in coma? Suspicions?

7. The meeting about the Ghost writing, the publisher and his tough demands, the editor and his supercilious attitude towards the Ghost, the agent and his wanting a good deal, the lawyer and his opinions? Persuading the Ghost to write, the discussions, the agreement? The large amount of money, the happiness of the agent? The Ghost and his being wary?

8. The Ghost and his character, age, experience, attitudes, skills?

9. Going to the island? Being met by Amelia, her brusque manner, the introduction to the house, his room, the office, the security for the manuscript? Ruth and her haughtiness? The other members of the staff, the Asian woman and her offhand manner with the meals? His going to the hotel, settling in? His later return to the hotel – and the interchange with the angry man who swore at him?

10. Adam Lang and Pierce Brosnan and his style? Resemblances to and differences from Tony Blair? His reputation for his time as prime minister? His being a moody man, his demands, the isolated world and not having any money, not being able to drive? The discussions with the Ghost, the ups and downs of their relationship, his exercising, his minders, the security guards? His relationship with Ruth, the tension? The past, her influence? The influence of Amelia and a relationship or not?

11. The Ghost and his work, editing the manuscript, trying to copy the manuscript and the security coming down, his evading detection? The stories? The story about Ruth, the inconsistency with the dates of Lang joining the Labour Party? His questions? Throwing out the clothes of the previous writer, finding the photos, the phone number? His puzzle, suspicions? The Foreign Secretary’s phone number and his calling?

12. Ruth as a character, interacting with people, talking with the Ghost, going to walk with him, the sexual encounter, rescuing him and his bike? The advice on the television revelations, not wanting her husband to go to Washington? Her staying behind?

13. The Ghost and his bike-riding, the encounter with the old man and his information? Going back to the hotel? The phone call to Rycart? Going to Paul Emmett, being allowed in, the discussions, seemingly innocuous? Emmett’s reaction? Going back to the ferry, trying to elude the car that was following him, getting off the ferry? Ringing Rycart again, Rycart coming to him, the discussions after the security check? The advice to return to the island, the prime minister arriving, his being shot?

14. Amelia, as a minder, businesslike, the personal relationship with the prime minister?

15. Television and revelations, the Foreign Secretary and his denunciation, not being personal? The Hague, the courts, warrants? The visuals of the protesters? The group watching the television, the Ghost and his writing the expert press release? Lang going to Washington, the dinners, the arrangements, the cover-ups, the interviews? On television and Ruth criticising him for grinning?

16. The prime minister’s death, the tributes?

17. The return to London, the Ghost finishing the book? His being the plus-one with Amelia for the launch, his not being invited? Seeing Emmett and Ruth, his suspicions? Giving the manuscript to Amelia as a souvenir, looking at it again, the code, the information about the beginnings? The discovery of the truth and the code about Ruth and her being a CIA agent?

18. The audience rethinking their perceptions of Lang, their perceptions of Ruth?

19. The Ghost going out into the street, his future? The crash off-screen, his death, the pages fluttering along the London street? The touch of cynicism and pessimism?

HOUSE OF THE DEVIL

US, 2009, 95 minutes, Colour.
Jocelin Donahue, Tom Noonan, Mary Waranov, Greta Gerwig, A.J. Bowen, Dee Wallace.
Directed by Ty West.

The title is very straight forward, so no surprises. This is a small-budget that is more than a bit like those British horror films of the 1970s which surface on television.

We are told instantly that in the 1980s, 70% of Americans believed that there were Satanist groups active in the country while 30% believed that the government was covering up these activities. They don't give a statistic for the complete sceptics!

So, the 1980s is re-created well here and we are back in scream territory, though not for the first half hour or so.

The first third of the film establishes the characters, a young student (Jocelyn Donohue engaging the audience at once) who is moving into a better apartment but needs the money for the rent and accepts a mysterious babysitting job from a well-mannered gentleman who wants here to be in his house with his mother while he and his dominating wife go out. Tom Noonan from Manhunter and The Last Action Hero and Mary Woronov, a star for Warhol and in exploitation films, are just right as the couple.

The second third has the girl wandering around what is a very large and creepy house. This creates an even creepier atmosphere as well. We, however, have been warned, as the girl's best friend (Greta Gerwig) is suddenly killed.

Before you can say Boris Karloff or Christopher Lee, we are in Satanist territory, curse of the crimson altar and that sort of thing – but this third third goes so fast that we are left breathless and the film is suddenly over. You can't help admiring the film-makers for the courage of their convictions and so the film is a (half?) guilty pleasure for horror fans.

1. A satisfying horror film? Atmosphere? Sinister house? Religious fanaticism, Satanists?

2. A homage to the horror films of the past, especially the films of the 80s?

3. The film set in the 80s, its style? The background of the lunar eclipse? Life in a college town? The house?

4. The film divided into three sections, is pace, the introduction to college life and to Samantha, the introduction to the house and its sinister aspects, the hurried ending with the rituals?

5. Samantha, introduction, student, interested in renting the house, the discussions with the landlady? Money difficulties, finding the flyer, the situation and her application?

6. Samantha and Megan, chatting, sharing, the detail of student life in the town? Megan as flirtatious?

7. The job, the flyer, the phone call, getting cut off from Mr Ulman? Samantha’s reaction, the next phone call, offering double the money, her accepting the job?

8. Megan and Samantha, driving in the night out to the house, the eerie setting and atmosphere, the lunar eclipse, Megan and her promise to return, the Ulmans’ son, sinister, questioning her, suddenly killing her? The transferring of the body to the house?

9. The Ulmans, the stars of previous horror films? The preparation to go out, the talk about the mother, their manners? Their characters, impression on Samantha, on the audience?

10. Samantha and her wandering the house, the creeks, the mother, the stairs, the attic? The growing sinister aspects and scares?

11. The pizza man, the drugged pizza? Samantha waking, the pentagram, the Satanists?

12. The rituals, their being hurriedly presented? Samantha’s escape, the deaths of the Satanists? The cemetery, Mr Ulman? Samantha finding herself in hospital? The Rosemary’s Baby theme and her being pregnant?

13. A horror concoction – but utilising well the traditions and styles of the past?

HACHI: A DOG’S STORY

US, 2009, 93 minutes, Colour.
Richard Gere, Joan Allen, Sarah Roemer, Jason Alexander, Cary- Hiroyuki Tagawa.
Directed by Lasse Halstrom.

Dog lovers prepare to weep. Not so sure about those who are not attached to dogs and their leaping, licking and nuzzling playfulness. Perhaps, just sit back and enjoy.

Based on a 1987 Japanese film which was, in turn, based on a true story from the 1920s and 1930s (with the real Hachi's photo appearing at the end as in many a biopic), this is a story of how strong a dog's best friend credentials can be.

We see Hachi being sent from Japan to the US and, by a series of accidents that do no credit to postal or transport and delivery services, poor little Hachi finds himself, label-less, except for the luck emblem around his neck, wandering a railway station in smalltown USA. Fortunately for Hachi, music professor Richard Gere runs into him, tries to find his owner but, despite his wife Joan Allen's antipathy towards having a dog in the house, they bond. Having seen dog owners and their bonds with their dogs, I soon realised that Gere's bonding with Hachi was Bonding (with a capital B). Actually, Gere's delight in performing with Hachi is such a strong factor for the film that the story becomes quite credible, especially in the latter part of the film where Hachi for years goes daily to the train station to wait attentively for his master – with a lot of help, love and care (and constant treats) from the hot dog stand owner, the book shop manager and the butchers, husband and wife, both advising Hachi to keep it quiet because the other does not know that they are sneaking out to feed him.

Whether the Akita breed of dogs is more 'human' than most, I don't know, but with the training and the photographic angles and the direction, you would be sure that Hachi not only knew what was happening but really understood – a range of smiles, eager looks, cute looks, quizzical looks... (And, at times, the camera goes black and white to show Hachi's point of view and sight of what is going on,)

This is a film suitable for all. Adult dog lovers will empathise with Richard Gere and, eventually, Joan Allen. Children will be well focused on the dog. Then the thought came: who is the better example of canine love and loyalty, Greyfriars Bobby or Hachi? Probably, a draw.

1. A true story? The 1920s and 30s in Japan? The statue to the original dog outside the railway station in Japan? The transposing of the story to the United States?

2. The film’s appeal, dog lovers, humans? Devotion, the dog as the human’s best friend? Emotion, tears?

3. The opening, the story of the young dog, the Japanese background, the monk, sending the dog to the United States, the labels, the hazards of travel, the dog being lost?

4. The opening with the class: Ronnie and his telling his story, heroes, his grandfather, the story of Hachi?

5. The railway station, Carl, his caring for the dog, yet wanting to find the owner, for it to be out of the station? Professor Parker Wilson and the encounter, the late time at the evening, his helping out, taking the dog? Cate and her not wanting a dog in the house?

6. Richard Gere as Parker, his skill in acting with the dogs and keeping audience sympathy? His background, music, composition? His classes, the students? His love for his wife? Their daughter? The story of family relationships?

7. Hachi and his name, the collar? Ken and his Japanese background, friendship with Parker, explaining the dog, the Akiti breed? Nobility? Parker bringing the dog into the house, concealing it from Cate, getting into trouble? There being no claimants at the station? Taking the dog home, the set-up, the kennel in the garden, play, Andy and her love for the dog? It becoming part of the family, Cate accepting it? Parker and his attempts to teach it to fetch – and failure? Parker going to the station, Hachi following, burrowing under the fence, chasing Parker? The repetition day by day, faithful, waiting, waiting for the return? Meeting the train? Parker and his friendship with the various storekeepers, their meeting Hachi and befriending him, supplying him with food?

8. The pattern of life, Hachi growing bigger, becoming a pet of the family, of the people at the station, Andy playing with the dog? Her marriage, Ronnie’s birth?

9. Parker, trying to get Hachi to fetch, the final success? The collapse of the professor in class, the heart attack, his death, the funeral?

10. Andy and her husband, taking Hachi, trying to make a home – but Hachi leaving and going back to the house?

11. The change of residents in the house, Hachi with nowhere to go except the station? His friends at the station?

12. Ten years of repetition, the vendors, Carl, supplying food, his being the town pet?

13. Cate, her visit to her husband’s grave, seeing Hachi after all the years?

14. The journalist, the story, taking pictures – and Carl wanting to intrude? The publication?

15. Hachi as old, Hachi’s death, the erection of the statue in his honour – and the theme of dogs as everyone’s best friend?

THE INFIDEL

UK, 2010, 105 minutes, Colour.
Omid Djalili, Richard Schiff, Archie Punjabi, Matt Lucas, Yagal Naor, Miranda Hart, Paul Kay, Amit Shah.
Directed by Josh Appignanesi.

The title, The Infidel, has the ring of religious intolerance about it. And that is what the film is about. However, it is not preaching in the serious vein about intolerance, it is preaching seriously via comedy. This is a risky enterprise, especially if those in need of learning lessons of tolerance and mutual understanding lack a sense of humour (which anyone with the touch of the fanatic tends to lack). There is probably enough in this comedy, which has quite a light touch but deep feelings about Muslims and Jews, to upset the humourless people.

Omid Djalili has built up a reputation on stage and on television as a strong comedian. Here he portrays a second generation Pakistani minicab manager in London, Mahmud, Muslim but not taking it or practice too seriously. His son wants to marry his sweetheart but her mother has just become engaged to an Imam who has a reputation for stirring up hate. That might be enough for a comedy that wants to challenge extremism but there is more, much much more.

While cleaning out his deceased mother's room, Mahmud finds that he was adopted – and that he was Jewish, Solly Shimshillewitz.

So, on the one hand you have the funny scenes poking fun at Muslims like the visit of the Imam to inspect his prospective son-in-law and Mahmud trying his hardest to give a good and orthodox impression as well as a rally by the smug Imam with his henchmen planted to ask sympathy-eliciting questions with his surprising unmasking (though I don't know what Cat Stevens, who is mentioned earlier in the film, would make of the twist). There is also some comedy at Mahmud turning up at a pro-Palestinian rally and his doing some quick thinking to divert the crowd from thinking he was Jewish.

On the other hand you have Mahmud investigating his Jewish background so that he can meet his dying father and having antagonistic cab driver, Lennie (Richard Schiff familiar from The West Wing), coach him in manners and expressions Jewish. The attempts to do the Jewish shrug and say 'Oy' are very funny as is Lenny's taking Mahmud to a Bar Mitzvah celebration and stranding him on the dais and getting him to tell a Jewish story.

The difficulty with a film like this is that, while it is actually quite funny and audiences will enjoy it, it is really preaching to the converted. One would like to think, however, that it may make a convert or two to religious and cultural tolerance.

1. The impact of the film, satire, humour? The theme of tolerance and intolerance?

2. The East London settings, the Pakistani area, Jewish area? The city of London? Streets, houses, mosques and synagogues, protests and rallies? Authentic background?

3. The UK and London, the 21st century, multi-ethnic, multicultural? Tolerance and intolerance? What is it to be British?

4. The writer, his background in stand-up comedy and comic television? Omid Djalili as a comic actor? His power of parody?

5. The credibility of the plot, impossible but funny? The background of Gary Paige as a singer and popular with Mahmud?

6. Omid Djalili as Mahmud, his cabs, his being a Muslim but not excessive, his bad language, drinking? His love for his wife, son and little daughter (and her jihad games)? His prospects, ordinary life?

7. His son, bug-eyed, his fiancée, hopes? His being a meticulous Muslim, his clothes, language, the Koran, observant? Uzma and his love for her?

8. Uzma’s mother, marrying the imam, his reputation? His elegant manner, clothes, speaking? Smug? His words, incitement? His thuggish assistants? His marrying, his having authority over Mahmud’s son? Over Uzma? His being based on several of the rabble-rousing imams in London?

9. Mahmud out with his son, the taxi, the music in the taxi, his son wanting to talk? Overtaking the cab, the clash with Lenny, the threats? Lenny and his living opposite, Jewish?

10. Mahmud cleaning his mother’s flat after her death, the documents, his birth certificate, his reaction? Going to the authorities – and his being stonewalled by the official, her reaction to Mahmud, giving in? The inquiry, his name, his going to the nursing home, trying to find his father? His not being allowed in, the reaction of the rabbi, of the supervising nurse?

11. Lenny, his story, the American being in the UK, separated from his wife, depressed? His reaction to the UK? The clashes with Mahmud? The change of heart, offering to help? Reading Portnoy’s Complaint – and Mahmud’s wife’s reaction? Help with the Yiddish, training him to shrug like a Jew? Information, language?

12. Lenny taking Mahmud to the bar mitzvah, the ceremony and his being out of place, his talk about his job, meeting the women at the reception? His being invited to tell the story, the awkwardness, making it up, the woman and her burst of laughter, his being accepted, dancing?

13. The protest, going to support his son, wearing his Jewish yarmulke under his Islamic turban? It being knocked off, his quick thinking, burning it as a sign of protest, his being filmed, it being on You Tube, used later against him? The police arriving, the interrogation, the mix-up about identity and the comic interchanges?

14. Mahmud’s son, worry, preparing for the visit of the imam, the father and his embarrassment, the protest, the scenes, his being praised by the imam? The awkwardness of the visit, everybody on their best behaviour, clothes? The revelation of the truth? Anger?

15. Mahmud’s wife, her suspicions, interrogating him, his being out, her discussions with her friend in the hijab?

16. The Jews seeing Mahmud on television, the protest, the demonstrations outside his house, the media, denunciations? The ladies who had asked for his signature on their petition?

17. Mahmud and his studying up the Scriptures, the Koran, Lenny helping him?

18. His various attempts to get in to see his father, finally getting approval, the nurse taking him in, discovering his father was dead, the rabbi and his prayer, his punching the rabbi? His dead father, the tape for him, calling him by his Jewish name?

19. The talk by the imam, unctuous, his attitudes, his assistants and their being planted, asking safe questions? Mahmud challenging him, exposing him – and the story about his being a singing star?

20. The irony of references to Cat Stevens – and stealing something of his story?

21. The final preaching, the point of the film – feeling good, tolerance, understanding? And the capacity for laughing at oneself?

AMERICAN COUSINS

UK, 2003, 115 minutes, Colour.
Shirley Henderson, Gerald Lepkowski, Danny Nucci, Dan Hedaya, Stephen Graham.
Directed by Don Coutts.

A pleasant family comedy drama set in Glasgow. Actually, it's that kind of Family comedy, two New Jersey mafiosi take refuge with their fish and chip shop owner cousins after a deal goes wrong in the Ukraine. The Ukrainians make contact with their thugs from Liverpool - Eastern European crime lords are doomed if they rely on ineffectual crooks like these. There are also some locals who want to take over the fish and chips shop. This mob is a far more violent and serious menace.

Which is not to say that the violence is the main theme of the film. Rather, the two mafiosi turn out to be quite decent chaps (within their vocational limits) and help out in domestic ways as well as a bit of professional know-how. As played by Dan Hedaya and Danny Nucci, they are mostly very genial. On the local scene, Gerard Lepkowski is an obviously nice man, ethical but with a reticent charm. Shirley Henderson helps out at the shop and is in love with the owner. But neither of them say anything until it is almost too late.

This is the kind of quirky local film that gets overlooked in the wake of the big blockbusters but which many people would find nicely entertaining (though with the Celtic propensity for for four-letter emphasis), with interesting characters, some good humour and some happy comeuppance for the villains.

1. A small and entertaining comedy? Humorous and serious?

2. The Glasgow settings, the Scottish atmosphere, the city, restaurants, flats and streets? The emphasis on kitchens, restaurants and cooking? The contrast with the United States? The Scots accents?

3. The title, the focus on Roberto, the focus on Settimo and Gino, the American cousins?

4. The American situation: gangsters, deals, the Mafia? Methods? Violence? The deal in Kiev, double-dealings? The need for the Americans to flee? The Americans and the use of local English gangsters? The Russian connections?

5. The contrast with Roberto and his life, with Nonno, in the restaurant? Roberto as a person, his age? His prospects? His manner of speaking, gentle? His relationship with Alice, their work together in the café? Nonno and his age?

6. The arrival of the Americans, the reaction of the Scots? The loud Americans at the airport, coming to see the cousins, moving in? Their fears, going undercover?

7. Gino and Settimo settling into the restaurant life, attempts at cooking, the cooking tests? Gino and his vanity? Alice and her helping? Roberto and his looking askance? The touch of jealousy?

8. The Liverpool thugs, their personalities, manner, throwing their weight around, confronting the Americans, the Americans using their own methods?

9. The Russian Mafia, the Ukraine? Their deals, violence?

10. The Americans, coping? The backup coming to Scotland? The huge number? The confrontation with the thugs?

11. Roberto and Alice, the ups and downs of the relationship, his misunderstanding? Her flirting with the Americans? In the restaurant, at the dance?

12. The happy ending, the Americans and their settling down? The happy ending for the romance for Roberto and Alice?

WALLANDER: KURIEREN (COURIER)

Sweden, 2009, 85 minutes, Colour.
Krister Henriksson, Lena Endre, Stina Ekblad, Matt Bergman, Douglas Johansson.
Directed by Leif Magnusson.

Wallander: Kurieren is the third in the second series of Wallander crime thrillers with Krister Henriksson as Wallander. They are based on the novels of Henning Mankell. There have been two Swedish series, twenty-six episodes in all, as well as the British series with Kenneth Branagh, six films.

Wallander is preoccupied with retiring in three years, has an abrasive working relationship with some of his staff which is manifest when he is unable to empathise with Petra when she has been threatened not to be a witness in a case. Katerina is able to explain some things to him and elicit some emotional response.

However, in the field, he is efficient as is the group, investigating the death of a racer, leading them to a world of drug-dealing and some Balkan Mafia transferred to Stockholm.

The film focuses on Janne Martinsson, the prejudiced policeman of the second film, Guilty. He wants to do further training and take Wallander’s place and Wallander is unable to be immediately sympathetic. Martinsson works harder and Wallander has to give his consent.

The film is well made – but, is a somewhat routine story well explored.

1. The series from Sweden? The personality of Wallander? His career, investigations? Crime? Solutions?

2. The Ystad setting, the police precincts, Wallander’s home and the beach? The racing track, the world of drug dealers and biker clubs? The rebuilding of the church? The highways between Sweden and Denmark, Customs barriers? Authentic feel? Score?

3. The title, the focus on Erik, the focus on Johannes? Their work as drug couriers? Their ability as racers? Murder?

4. The death of Erik, the discovery of his body on the beach, the bike? The autopsy and his broken neck? The further leads about victims with broken necks? The climax and the biker and his being threatened by the Stockholm Mafia, the neck-breaking, the burial? Leading to the criminals?

5. Wallander, the encounter with Elias on his bike, on the beach, his birthday? Katerina and her explanations? Wallander at home, at work? The interactions with Katerina, her work as a prosecutor, listening to the presentation of the case, her demands for evidence? The rest of the staff? The importance of Janne? His role in investigating? His bristling personality?

6. Martinsson, his admiration for Wallander, his role in investigations? The advice to apply for further training, his hopes for taking Wallander’s place? Wallander hesitating and signing the application? Martinsson and his work, diligent, inquiries, on the internet, in interrogations? His asking Wallander the truth, Wallander reluctant to retire and his finally signing the document?

7. Pontus, his knowledge of the internet, his knowledge of bikes, discovering the identity of the builder? His participating in interrogations, investigations? With Johannes? His expertise at the end at the breakdown of the bike? Petra, her work, her being present when Svartman was attacked by the dog? The threats to her against testifying? Her resignation, being hurt by Wallander, his apology? Her continuing? Svartman, his work, investigations, the dog attacking him and his injuries?

8. The world of bike racing? The track, the various competitors? The expensive nature of the sport? Patrons and sponsors? Erik and his role on the track? The photo with the group, going to see the chairbound man, his cooperation, Erik’s hiring his shed? Johannes, his pregnant girlfriend, friendship with Erik? Johannes and the drug runs?

9. The bike club, Mats, his reputation? His relying on Kolt? Audience suspicion of them? The drug deals, the bosses from Stockholm? The standover tactics? The death of Erik? Asking Johannes to do the runs? The pressure on Mats from Stockholm? Mats and Kolt and their pressure on Johannes, stripping him and putting him in the hole and pouring the cement? Threatening his girlfriend? Her reaction, her fear?

10. Nyberg, his mother at the home, her wandering, in the cemetery, at the church, his discovery of the Stockholm car? His research? Leading to the perpetrators? The finale and his mother at the church and the boss falling from his bike?

11. Johannes, the runs, the meeting in the church? Wallander and the team, talking with Johannes, persuading him to comply? His fear?

12. The final run, the interference with the bike? His going through the barrier, the police getting him? Persuading him to lead them to the bosses? The church? The shootout, Mats’ injury, the henchman’s death, the boss on the bike, his being arrested?

13. The neat conclusion of the film with Wallander and Katerina watching Elias on the racetrack?