PETER'™S FRIENDS

UK, 1992, 101 minutes, Colour.
Kenneth Branagh, Stephen Fry, Hugh Laurie, Emma Thompson, Alfonsia Emmanuelle, Imelda Staunton, Phyllida Law, Rita Rudner, Tony Slattery, Alex Lowe.
Directed by Kenneth Branagh.

Peter’s Friends is really a 90s film about Kenneth Branagh and his friends.

The film opens with a fine collage of what happened between the 1980s and the 1990s in the UK and around the world, an excellent visual summary. The film also opens with Peter and his friends performing a song about the London Underground as they finish their university studies – with a photo taken at the end. At the end of the film, ten years later and a bit wiser, they reprise the song.

The film is about a New Year’s party hosted by Peter at his mansion. He invites his friends who haven’t seen each other for some time. Peter is played by Stephen Fry, a very personalised performance in terms of his comedy but also in the themes of sexual orientation and the awareness of HIV at the time. Kenneth Branagh portrays a writer-actor who has transferred to Los Angeles and married an American comedienne, played by Rita Rudner who wrote the script with her husband Martin Bregman (who was also a student at Cambridge with many of the cast). Hugh Laurie and Imelda Staunton are a couple, creator of advertising jingles, who have suffered the sadness of the death of one of their twin children. Imelda Staunton portrays the distraught mother, full of anxiety, wanting to phone home all the time to check on the safety of the other twin, alienating her husband. Hugh Laurie gives a very dignified performance as the husband struggling with the crisis. Alfonsia Emmanuelle is the goodtime girl with many relationships, taking up with Tony Slattery (also a student at Cambridge with the cast), a married man who is to leave his wife. Emma Thompson rounds out the group as the single woman, oversensitive at times, struggling to find a place in life – and with a crush on Peter which is not to be fulfilled. Phyllida Law (Emma Thompson’s actual mother – and she was married to Kenneth Branagh at the time) portrays the sympathetic and unsympathetic housekeeper.

The film focuses on a very particular group which audiences may not be able to immediately identify with. However, the film is so well acted and written, audiences will respond to many of the characters and their crises. In fact, as they go through many gaffes, difficult situations, there is a lead to some kind of resolution in the crises of most of the characters.

Peter’s Friends is very interesting to look at in terms of the subsequent careers of most of the cast: Hugh Laurie and his many films, his starring in House MD and his many awards; Kenneth Branagh, with this film as one of his early directing jobs (after Henry V and Dead Again, before a whole range of films including Frankenstein, Hamlet, Love’s Labour’s Lost…); Emma Thompson soon to win an Oscar for her performance in Howard’s End and her screenwriting for Sense and Sensibility; Imelda Staunton and her many character performances culminating in Vera Drake, winning the acting award at the Venice Film Festival; and Stephen Fry with his performance in Wilde, his appearances in many films and on a range of television programs which illustrated his high intelligence and his ability with ideas and words.

1. The cast, the writers and their associates, the cast and their friendship in life, on screen? The film echoing their lives? The film seen in the light of their subsequent careers?

2. The 1980s, the initial collage and history of the UK and wider from the 1980s to the 1990s? An effective summary?

3. The 1990s, change, the group older, their experience, problems?

4. The prologue, the song-and-dance routine, Offenbach music and the song about the underground railway stations in London? High-spirited performance? The university, the end of their studies? The photo? The reprising of the song at the end of the film?

5. Peter’s house, the exteriors of the mansion, the interiors, the historical aspects of the house, rooms and style?

6. The musical score, the range of songs used throughout the film?

7. Stephen Fry as Peter, his style, manner, speaking? His house, thinking of selling? The discussions with Vera, the decision to hold a party? His being the host, genial, meals, the rooms – and Carol thinking his was hers? The phone calls and Mary’s anxiety? Maggie and her approach to him, his turning her away? Relationships? A gay man, HIV and his announcement? The response of the group, concern? Vera’s response?

8. Andrew and Carol, going to the United States, their arrival at the airport, Carol and her public, the fan who didn’t recognise her and mistook her name? Bringing her weights? Andrew and his cynical approach to life, his cynical attitude towards his wife and her television program? Carol as particularly American, loud? Brian carrying her cases and her making a joke of it? Taking the wrong room? Exercising, gorging at night in secret? Her show? Not understanding the British, upset with Andrew and his past relationship with Sarah? Interpreting the worst? Ultrasensitive? The issue of separation? The phone call, the offer of a film, returning? The effect on Andrew? As a writer, collaborating with Peter, but going to the US? His attitude towards American television? Drinking, giving it up? Trying to cope with Carol? The gaffes, the meal, Sarah and the past? Dealing with Mary and her anxiety? Maggie and her friendship? Cynical about Sarah and Brian? The truth about Carol and Sarah? Drinking again? Badmouthing people, the attack on Peter? His being very sorry after the announcement about HIV?

9. Maggie, her cats, eccentric, wanting relationships, sensitive, the giving of the gifts and being upset at people’s reactions? Her ability to coax Mary into being calm? Talking with Andrew, the approach to Peter, the rebuff? With Carol in the kitchen, the makeover, Sarah criticising it? With Paul, the sexual encounter? Her being anxious for everyone?

10. Sarah and Brian, the encounters, impulsive? Loud? Sarah and her background? Brian’s attitude? Carrying Carol’s cases, the gaffe about the dead twin? His jokes, his being out of place, the song and the coffee jingle? The possibility of divorce? The phone call, separating from his wife? Sarah and her being upset at not being consulted? Sarah and her relationships, Andrew telling her that she was a dreamer about romance and everything disappointed her? The next morning, Sarah in the garden, Brian’s suspicions as he walked? The phone call, his child and wife, Sarah hearing? The wife arriving to take him away? The aftermath and Sarah becoming more balanced?

11. Mary and Roger, goodbyes to their son, the story of the twin’s death, Mary upset, not wanting to go? The tension, her being highly strung, the inordinate number of phone calls, Roger and his exasperation? Roger as a decent man, the job, their creating the jingles? The impact of their singing The Way You Look Tonight and its effect on the group? Brian still wanting the jingle? Mary and the upset about the talk of the twin? Maggie and her ability to comfort Mary? Mary staying?

12. The frank talk between Mary and Roger, about the death, about blame, about nobody being able to foresee what would happen, the thoughts of separation? Their staying together the next day, making peace? In love with each other again?

13. Vera, her story, Paul, her disapproval? Her sardonic remarks to Carol? Her liking the group? Hearing Peter’s confession, her response? Enjoying the final song? Paul, his ambitions, the services? Relationship with Maggie?

14. Reunions, the telling of the truth, the handling of crises, some healing and hope?

CRYING WITH LAUGHTER

UK, 2009, 93 minutes, Colour.
Stephen Mc Cole, Malcolm Shields, Andrew Neil, Micaiah Dring, Jo Hartley.
Directed by Justin Molotnikov.

Not much laughter here – but, surprisingly after the first somewhat repellent 15 minutes of the film, quite a lot for tears and reflection.

This a film about a stand-up comic, Joe Frisk (played effectively, except in his comedy routines, by Stephen McCole). Last year, Adam Sandler in Funny People showed the inner unhappiness of the comic and a preoccupation with illness and death. We don't quite know, at first, what is the inner sadness of Joe Frisk whose comedy is of the crass and crude and unfunny variety (sorry, very little variety) as is his own personal behaviour, drinking, snorting cocaine, irresponsible towards ex-partner and their daughter, welshing on debts, altogether someone that you would hesitate spending 90 minutes with.

Things take quite a turn for the odd when Joe encounters Frank, someone from school that he does not immediately recognise, who invites him to a reunion. Joe tries to avoid Frank but becomes ever more entangled when Frank identifies Joe in a line-up and he is sent to rehab. Frank, who has a considerable hurt agenda of his own, gets him out and tries to involve him a plan to abduct their headmaster, now suffering from dementia, from a nursing home.

By this time the film is more interesting than anticipated. But, it is the reason for all this effort on Frank's part that is the key, something which is very much in the headlines these years, sexual abuse of minors. Joe has repressed memories, especially after the school burnt and he was sent to a Borstal where he says that he had to try to be the funniest to survive. However, Frank has the revelations and our attention is fixed on the headmaster, bewildered at first but then reverting to his old self and unselfconsciously re-enacting the beginnings if his abusive behaviour and being unpitiable in asking them to keep his behaviour secret and from the police. By this stage, the film is very serious indeed.

For those who have persevered beyond the offputting opening and, despite the Bullpit Club's audience chortling at very unfunny performances, there is a lot to think about, especially in how Joe handles his audition for an American agent, recounting his experiences and what he has decided to do with his life from now on.

1. The title, the emphases on crying, on laughing?

2. A small-budget film, Scottish, the Edinburgh settings, the city and streets, homes, the beach, the clubs, the school? A sense of realism?

3. The comedy and the routines, Joe on the beach, drinking, thinking of material, performance, the sexual themes, raunchy and crass? His performances at the club, the audiences reactions? The cinema audience and finding the routines funny or not?

4. The theme of pain behind the comedy? Joe and his injury, telling his story at the club, the film comprising flashbacks? His using people, telling the story about meeting Frank? Collette and her intervention? Frank present? The attack on the landlord and his demanding money? The landlord present, intervening? The punch-up?

5. Joe, the barman, the waitress, waking up with the threesome? An amoral character, lines of coke? Alcoholic?

6. Karen, talking with Joe, delivering the daughter? The daughter as alert, the situations, care, the dangers? Frank abducting her, Joe’s concern? Finding her? The daughter at ease with Frank, at the school? Not aware of what was happening?

7. Frank, at the baths, talking to Joe, Joe not remembering, then recalling Frank? Joe at school, the headmaster, the drink, burning down the school? His being sent to Borstal, Joe’s comments about having to be the funniest to survive at the Borstal? Frank wanting a school reunion, urging it, Joe resisting, telling the story at the club, Frank present? Frank’s own story, his severe father, ability to dance, in the services, leaving? With Collette? The inherited house?

8. Joe’s arrest, the line-up, Frank identifying him, Joe having to go to rehab? The effect on him? Frank getting him out, finding a place, Joe staying with Frank and Collette?

9. The truth, issues of sex abuse, abuse of minors, school staff? Joe repressing the memories? Issues of anger, revenge?

10. Frank and picking up the headmaster, his suffering from dementia? Frank and his anger, shoving the headmaster around? Taking him to the school? Joe and his worry, the phone calls, worried about his daughter, getting the taxi, running to the school?

11. Frank and his taunts, the truth about the alcohol, the excessive sedatives? The headmaster and his relationship with the boys, raping Joe? The headmaster reverting to his old self, acting out? Frank and his brutality? The truth? His own guilt at putting the sedatives in the alcohol for the headmaster to save himself? Revenge?

12. Frank taking the headmaster back to the home, the swift accident and the headmaster being run over?

13. The American agent, the MC at the club, Joe’s own agent? The reactions to Joe, the MC going on, Joe arriving late, talking to the agent, doing his spiel, deciding against the United States?

14. The experience for Joe as a kind of exorcism, through the performance, through the truth, having to deal with Frank, the situation at the school, his concern about his daughter? A possibility of reform, going to see Karen, the discussions, going away with a stronger sense of self-worth?

WALLANDER: SKULDEN (GUILT)

Sweden, 2009, 90 minutes, Colour.
Krister Henriksson, Lena Endre.
Directed by Lief Magnusson.

Wallander: Skulden is the second in the second series of the Wallander telemovies starring Krister Henricksson as Kurt Wallander.

The film takes advantage of the city of Ystad and offers authentic locations. The film opens with the release of a paedophile from jail, his interview with his parole officer, his return home. He is also seen watching the children at the local school. The film then moves into the story of the disappearance of one of the children, the grief of his parents and older brother, the investigation and biased and prejudiced suspicions of the paedophile leading to graffiti, an attack on his house, stone-throwing which causes the death of his mother and leads to his own suicide.

However, the story takes us back to the family, the autopsy revealing some pharmaceuticals in the dead boy. Each of the parents is under suspicion but there is a final twist revealing what actually happened. It raises the issue of paedophiles and their threat as well as children who are jealous and vengeful and the consequences for their parents.

1. The effectiveness of the series? Henning Mankell’s novels, their adaptations, new stories? Characters, crimes, investigation, solving of mysteries?

2. The Swedish settings, the city of Ystad? Realism, homes, neighbourhoods? Authentic? The musical score?

3. Wallander as a character, his age and experience, his work, working hard, his associates and collaboration with them, the autopsy and the information, following hunches, interrogations?

4. The paedophile theme at the opening: the offender, discussions with his parole officer, his serving his sentence, saying that he was healed, but his continued watching the children, photo collection? At home, the lonely life with his mother? Her desperately supporting her son but mystified by him? Going out, watching the children at the school? The situation of the child’s disappearance, under suspicion, burning the photos? The police and the interrogation? The officer and his suspicions, presumption of guilt? The house being watched? The interviews with his mother? The raid on his shed, his working on the bike and their having to back down? The policeman and his bigotry? Making remarks to the locals, alarming about the safety of their children? Wallander asking him questions and his being evasive? The locals, the meetings, the complaints to the police, demonstrations? Graffiti on the offender’s house? The stones, his mother being hit, her dying? His killing himself? The officer’s reaction and his promising to investigate? Wallander and his sadness at these events?

5. The children at school, the supervisor, the phone call, her moving away, with the group? Her answering questions? Her running away, in the train, her fears for her boyfriend? The cap and throwing it out the train window? Suspicions? The police tracking her down? Her fear, revelation of why she concealed the phone call?

6. The parents, Albin’s birthday, the gift of the Playstation? The search, their grief? The visits of Wallander? The promises and hopes? The finding of the body, the autopsy, the mother identifying the body? Victor and his sadness?

7. The autopsy, the information about the pharmaceuticals, the further investigation?

8. The pharmaceutical theme, the wife and her taking tablets, the medicine chest? Adopting the boy from Poland? Finding him difficult? Taking tablets for her needs and depression? The husband, his work at the factory? The adoption story, her conceiving, giving birth to Albin? Loving both children?

9. Wallander and the search of the house, finding the pestle for the drugs? The separate interrogations? The father and his making a run? The mother and her strong stance? Audiences suspicious of each?

10. Wallander, meeting Victor, the truth, the re-enactment, the birthday, Victor jealous, Albin being selfish with the Playstation, Victor picking him up, taking him to the water, the struggle, his going into the water, Victor unable to pull him out?

11. Wallander hurrying to save the father, the mother and her declaration of love even though people would see Victor as a monster?

12. The credibility of the plot, its complexity?

SNIPER 3

US, 2004, 90 minutes, Colour.
Tom Berenger, Byron Mann, John Derman, Dennis Arndt.
Directed by P.J. Pesce.

Sniper and Sniper 2 were very popular at the box office and on video and DVD. Tom Berenger starred as an experienced sniper in various fields of war, especially in Latin America and in Asia. Because of the popularity of the series and Tom Berenger, a third film was made. This time the setting is contemporary Vietnam.

The film focuses on Berenger as Tom Beckett, a skilled sniper who has lost the use of one of his fingers. He is recruited by the CIA to go back to Vietnam and kill a drug dealer. However, the story is much more complicated and there are some expected twists. Byron Mann appears as the good Vietnamese policeman who helps Berenger. John Derman is the Vietnam veteran who has gone under deep cover and become a drug dealer whom the Americans want to get rid of.

This is straight-to-DVD kind of material – but in its ninety minutes, well done of its kind.

1. The popularity of the first two films? The role of the sniper in war? Tom Berenger creating the character of Thomas Beckett? His action and adventures in various parts of the world?

2. Thomas Beckett as older, retiring, the damage to his finger? His hard-bitten attitudes? Towards authorities, clashing with them? The loner and individualist? Seeing him in action, training people, his skills? His attitude towards the next generation?

3. His being recruited by Avery? The compliments on his skills? His mission? In Vietnam?

4. The flashbacks to the war in Vietnam, American memories of that action, the soldiers, those missing in action? Paul Finnegan as a hero – and Beckett going to his son’s wedding, the discussions with his widow, reading out the letter to the son from the father? The irony that he was still alive?

5. The contemporary Vietnam scene, the transition from the 1970s? The Americans returning? Life in Ho Chi Minh City, peace, the hotels, prosperity? The police force? Beckett and his contrasting the present with the past?

6. Meeting Quan? The Vietnamese police? Quan’s contact with the CIA? The discussions, the mission, the information about Finnegan, the club?

7. Finnegan, his work as a soldier in Vietnam, going undercover, in the tunnels? His becoming involved in the drug trade? His cover for the Americans? His decision to stay in Vietnam, cut his ties, let his family assume that he was dead? His skill at his work? His gangs? The traffic, the money? The use of the tunnels?

8. The Americans, recruiting Beckett? Their true motives? The senator and his wanting the presidential nomination? Contriving to keep Beckett ignorant? Presuming that he would succeed?

9. The set-up, Beckett and his gun, the club, looking at Finnegan, shooting? The uproar in the club? Quan and his involvement? Finnegan surviving? The drug dealers being killed? Beckett and the confrontation with Finnegan, Finnegan and his story? The truth?

10. The Vietnam police taking over, the arrest of Beckett, his being jailed? Quan and the ambiguity of his work? The CIA connections? The explosion, Beckett getting out?

11. Beckett teaming up with Quan, their pursuit of Finnegan, going out into the countryside? Finding the tunnels? The chase in the tunnels? The capture of Quan? The martial arts demonstrations and Quan’s skill? Beckett and his gun, his bad finger? The set-up for Finnegan, the bounding bullet, Finnegan’s death? The young men in the drug gangs and their promising loyalty to Beckett?

12. Beckett, the achievement of his mission, integrity? Quan and his integrity? The information going back to the United States, the brief information about the withdrawal of the candidate, the suicide of Avery?

13. American thrillers and their use of conspiracy theories? Corruption in high places and cover-ups? The lone American hero resolving the problems?

RACE AGAINST TIME

US, 2000, 90 minutes, Colour.
Eric Roberts, Carey Elwes, Sarah Wynter, Chris Sarandon, Diane Venora.
Directed by Geoff Murphy.

Race Against Time is one of the many telemovies set in future times where individuals are at the mercy of corporations.

Eric Roberts portrays a builder who loves his son who has a terminal illness. He lives in a society where suicide is legal and where a corporation, ironically called Life Corps, is in the business of signing people to suicide contracts so that they can use their organs for prolonging life in people who are ill. When the builder is unable to pay for his son’s medication and operations, he signs the contract only to find that his son has died. He then goes on the run.

Chris Sarandon portrays the sinister head of Life Corps. Diane Venora is one of the doctors – who has something of a conscience. Carey Elwes is the sinister bounty hunter, pursuing the runners. Sarah Wynter portrays a bounty hunter who aims to capture the builder but changes her mind and helps him escape.

The film emphasises action, has quite a number of chases and fights. It appeals to fans of action science fiction.

It was directed by New Zealander Geoff Murphy (Utu, The Quiet Earth, Goodbye Pork Pie) who went to the United States in the 80s and directed such films as Young Guns 2, Free Jack, Under Siege 2. He also acted as second unit director on the Lord of the Rings trilogy.

1. The popularity of this kind of action film? Science fiction? Future society and the individual versus corporations?

2. The futuristic setting, the city, familiar, building sites, hoardings and advertising? Offices, hospitals? Yet the atmosphere of the future? Sinister? Musical score?

3. The prologue, the runner, Burke and his pursuit, the masked guards, capturing the runner? Setting the tone?

4. James Gabriel, his story, at home, the television ads for Life Corps, going to work, the clashes with the foreman, the dangers on the building site, the worker falling, Gabriel gripping him? The clash with the boss and holding him over the edge? His concern about his son, unable to pay, watching his son and his illness? His decision to go to Life Corps?

5. Life Corps, the smooth office atmosphere, the secretary and receptionist, discussions with Doctor Steele? With Anton Stofeles? His contract? Taking the money, going to the hospital? Finding his son dead? His being injected? And being able to be tracked?

6. His return, the confrontation, throwing the money away? Going on the run? Hiding?

7. The encounter with Alex, her role as a bounty hunter? Her pity for Gabriel? Helping him? The chases, hiding, her confrontation with Anton? With Burke? The fights? Her saving Gabriel?

8. Burke, sinister, in the suit? The confrontations with Gabriel, with Alex? His henchmen? Reporting back to Anton? His failure to catch Gabriel, the continued pursuit? The build-up to the finale, the fight, the lift-well? His death?

9. Doctor Steele, her concern, the boy still alive, Anton using him? Anton and his ambitions? Ordering Burke to find Gabriel? The confrontation with Gabriel, falling to his death?

10. Gabriel, his determination? The decisions about his son? That he was still alive? Life Corps and their taunting Gabriel by flashing the images of his son on the hoardings? Gabriel and his return? The fact that his son was alive?

11. The build-up to the fights, the action sequences? Gabriel triumphant? Getting his son back?

DONNE-MOI LA MAIN (GIVE ME YOUR HAND)

France, 2008, 80 minutes, Colour.
Alexandre Carril, Victor Carril, Katrin Sass, Fernando Ramallo.
Directed by Pascal- Alex Vincent.

A road movie, highways, back roads, forest tracks and some railways.

The film begins with an arresting animated sequence, a boy helping his father in a bakery, clashing with his father, and his twin brother coming to the shop and enticing him to leave. As we take up the live action, the two brothers are hitch-hiking to Spain for their mother's funeral. They take quite a long time to get there (and often it seems that way thought the running time of the film is only 80 minutes).

The brothers are played by identical twins, Alexandre and Victor Carril, who have appeared in some short films for the director. Fortunately, for identifying them, because they are strongly identical, one has a scar above his eye – he is the one in the bakery, Antoine. The other, Quentin, does drawings.

Apart from a lot of pretty scenery, which we get plenty of opportunity and time to contemplate, and wondering whom they will encounter next (and will there be sexual activity – there is), the main interest is in watching the twins and how they relate to each other. They both have what we might now call the Robert Pattinson Twilight look. They can be soulful and morose. They can be irascible (and there are quite a number of punch-ups, with each other, that is). They get lifts from friendly people, exploitative people, and stop to earn train ride money helping with a harvest.

A mood piece which, or may not, hold the interest.

1. A short film? Character study? In the French and Spanish landscapes? The musical score?

2. The issue of twins, identical, similar characters, characteristics? Real-life twins portraying the twins? The brother with the scar as different from the one without? Audience difficulty in recognising which was which?

3. The interaction of the twins, their age, their work with their father, the decision to go to their mother’s funeral? The friendship? The clashes, the physical fights? Their surly and morose expressions? Their work? Quentin and his sketching? Jealousies? Curiosities?

4. The introduction: the animation, its style, the focus on Antoine and his working for his father, the bakery, the clash with his father, his brother coming to the window, their leaving? The transition to their walking along the rail tracks?

5. The film and its landscapes, the variety, photographed in a pretty way? Time for contemplation? The roads, the fields, the mountains?

6. The characters as they developed in their journey, their aim to go to their mother’s funeral? Who was in charge? Their lack of money? Hitchhiking? Getting on trucks, on trains? Their working in bringing in the harvest? The separation at the station, the clash? Their both arriving at the funeral? The film focusing more on Antoine than Quentin?

7. The people that they met on the way: Clementine, the snacks, her bringing the cup of coffee, her brother and his violence, her leaving with them, her curiosity about twins? The sexual encounter? Her leaving? The woman on the train? Sympathetic, listening to the story, her own sad story? The man in the car, with the boxes, their running away without helping him? The two girls in the car, the sexual encounter? Bringing in the hay, Antoine and his hard work, Quentin and the attraction of the young man, their going off in the night, the river, the night together, Antoine watching? His reaction to his brother? The contrast with Quentin watching him as he washed in the river? The woman who took Antoine in after his collapse, on the farm, the sexual behaviour? The Spanish man, his kindliness, the old man in the back of the car? Antoine’s collapse and wanting to help? The man at the station, eyeing the brothers, Antoine taking the hundred euros, the encounter with Quentin, his fighting to get away? Going to the station, Antoine not being able to find Quentin?

8. The reaction of the audience in spending this time watching the brothers, watching the scenery, watching their behaviour – the effect in understanding? Any insights into the characters and into twins?

BOOGIE WOOGIE

UK, 2009. 94 minutes, Colour.
Gillian Anderson, Alan Cumming, Heather Graham, Danny Houston, Jack Huston, Christopher Lee, Joanna Lumley, Simon Mc Burney, Meredith Ostrom, Charlotte Rampling, Amanda Seyfried, Stellan Skarsgaard, Jaime Winstone.
Directed by Duncan Ward.

A film about the filthy rich, or the filthy and rich. These are not people that most people would like to mix with (though many are pleased to read about them in gossip columns). This is a film about the contemporary art world in London, written by an artist and novelist who also lived in New York, held exhibitions and knows this cutthroat (and knife in the back) world, Danny Moynihan.

The title refers to a painting by Mondrian.

There is a certain curiosity element for audiences to see how this other small percentage live. The screenplay aims for comedy and satire but the antics of artists, dealers and collectors are not particularly funny, especially when they spend a lot of their time and energy, emotional, professional and business double-dealings. There are some humorous moments but more moments that are likely to provoke distaste.

The main advantage the film has is its unusual cast, quite a number of movie high flyers. Most of them give performances on the edge – and sometimes over the top. Danny Huston is a screen presence who can command attention. He does here as an avaricious, principle-less, shrewd art dealer. Skellan Skarsgaard is also effective as a smug and wealthy art connoisseur and collector, with Gillian Anderson as his wife. The owners of the Mondrian, in need of income and eager to sell, are played by Christopher Lee and Joanna Lumley, with Simon McBurney? as their somewhat sinister butler and adviser. Americans Heather Graham and Amanda Seyfried turn up in London as do Alan Cumming and Jaime Winstone (sounding very much like her father, Ray) as a rather warped and ambitious video installation 'artist'.

Had these roles been taken by less known or unknown actors, the film might have made much less impact.

1. A glimpse of an art world? Artificial world? Art culture? The transition from the novel’s New York to the film’s London?

2. The title, Mondrean and his paintings? The painting on show in the Reingolds’ house? Buying and selling, the fire consuming the painting?

3. Damian Hirst, the references, his curating the variety of works of art on show in the film?

4. The range of paintings, artists and their work? Video art and installations?

5. The strong British and American cast?

6. The dealers’ world, Art Spindle and Danny Houston, unctuous and shrewd, phony and avaricious? With Beth in the office, her leaving? With Paige, her father, getting the job? Art’s visits to the Reingolds, the argument about selling the painting, the discussions with Robert Freign? His own painting, the gift? Art and his being in a hurry, the different offers? Exhibitions? The possibility of going to New York with Jean? Bob and supplying information, samples of the paintings? The interview with Dewey, his listening, putting the plan in the garbage? And stealing the idea at the end of the film? Jean moving out and coming to him, his boyfriend? Elaine, chatting with her? Using her for the future? His selling all of Bob’s paintings? Portrait of a dealer?

7. Beth, her friendship with Bob, paying for the breast enhancement, the internet site? Independent? Her work, skills? With Joe, the relationship, the phone call from Jean, her immediately cutting him off? Taking up with Elaine, managing the exhibition, the sexual encounter, filmed, the phony truth? Her father visiting the installation?

8. Collectors: Bob and Jean, arguing the date of their marriage, their lavish and wealthy style, postures? Visiting the galleries? Visiting Art’s rival? The visit to him, chatter, their taste, looking at prospective purchases? Bob and his women? Beth and the breast enhancement? Paige and inviting her to dinner, her being sick, the hospital, the twin organ, the Hirst artwork and the satire? Easily separating from Jean? The discussion with the lawyers and the dividing of possessions? The dogs? Art and his being advised to sell all the paintings – and Jean coming home to an empty house? After all her discussions with Emille about possessions? Emille and her three divorces, shrewd advice for Jean?

9. The Reingolds, their art background, on hard times? The auction and not selling paintings, the Mondrean, Alfred Reingold’s story, often repeated, getting it from the painter? Arguments with his wife? Her desperation? Robert Freign as a kind of sinister presence, offering advice, the deals, the discussions with Art Spindle, the gift of the painting? Bob and his interest in the Mondrean? Alfred Reingold, smoking, the fire, his funeral? Alfreda and her leaving with Robert?

10. Paige, young, skating, the job, ambitions? Flirtation with Joe? With Bob, her meal, being sick, the hospital, the artwork and her reaction? Her future?

11. Joe, artist, callow, his studio, Jean and Beth and his demonstrations of his work? Going to New York with Jean, Beth and the relationship, the phone call and Beth cutting him off? The come-ons to Paige and others?

12. The opening of the film, the video, Elaine, the crash? Elaine photographing everything? Going to the gallery? Her relationship with Jony? Sexual? Using Jony, Jony as a servant? Elaine as tough, her friendship with Dewey, introductions through him, wanting Beth as her agent, cutting off Dewey, Dewey and his upset, coming to the door, pleading, his being filmed, suicide threat? The revelation of his death – and Elaine filming that for the installation?

13. Dewey and his ideas, friends, introductions, at home, art and the discussion, coming back with his card and finding his plan in the bin? Elaine cutting him off, desperate, his death?

14. Audiences identifying with these people, this world? Or not? Interest in observing it?

THE BOUNTY HUNTER

US, 2010, 107 minutes, Colour.
Jennifer Aniston, Gerard Butler, Jason Sedeikis, Peter Greene, Christine Baranski.
Directed by Andy Tennant.

Easy to review. For those who like seeing Jennifer Aniston romantic comedies and/or Gerard Butler romantic comedies and action films, then it is obviously for you. If not, and you find Jennifer Aniston much the same in every film and that Gerard Butler is repeating his scruffy big tough guy, his The Ugly Truth persona, and they do not appeal, it is obviously not for you. All these ingredients seem to irritate and aggravate critics into loud harrumphing and a high intolerance quotient.

Actually, it is some romantic comedy, some screwball comedy, some battle of the sexes plus some police investigation, some road movie and some car chases and shootouts, a recipe that should have something to appeal to most multiplex moviegoers and DVD renters and buyers.

She is an ambitious reporter who is on to a mysterious police alleged suicide. He is a bounty hunter whom we see getting his man (in a 4th July parade where the target is doing an Uncle Sam on stilts!). Oh, and they are divorced. She has skipped out on a court hearing, so she is a fugitive and he promises to bring her in and relishes the prospect. The tagline reads, 'Taking your ex to jail. Best job ever'. Indeed, easier said than done, so lots of antagonism, some moments of possible reconciliation, some dangerous moments and an ending that relies on the law and jail detention!

Undemanding fare, light and entertaining without strain as long as the above Aniston and Butler provisos are taken into account.

1. Light entertainment? Depending on its stars?

2. Blend of romantic comedy, screwball comedy, battle of the sexes, crime and reporting, action?

3. The New York and New Jersey settings? Atlantic City, the casinos, the bed and breakfasts, the racetrack, the precincts and the police? The musical score and the songs?

4. The opening, the car, Milo, the fire in the boot, Nicole escaping, the chase – and twenty-four hours earlier?

5. Nicole as a reporter, Stuart pestering her, the information about the suicide story, her having to go to court, her contact with Jimmy for the story, absconding from the court, the judge and her negative reaction?

6. Milo, in the parade, chasing Uncle Sam on stilts, catching him? The police reaction, taking him to prison? Bobby bailing him out? Sid, the commissions, Sid going away with the kids camping, Teresa at work? The new job – Nicole?

7. Milo going to Nicole’s home, catching Stuart? Milo as a slob, making a mess, phoning her mother? Nicole, going to see Jimmy, seeing him abducted? Searching the desk for information?

8. Going to the racetrack, Milo confronting her, the chase, catching her, in the car, the handcuffs, the further chases? Earl and his shooting at them? Bobby and his ringing through the warning? Suspicions of Bobby?

9. Irene, her toughs, confronting Milo for the money? Pursuing him, taking Stuart by mistake, the injection, Stuart wandering – and still clinging to the hope that Nicole was interested in him?

10. The honeymoon bed-and-breakfast resort, the couple welcoming them, the meal, talking, the seeming reconciliation, Nicole overhearing the phone call, misinterpreting it? The various captures, the handcuffs in the bed, the stun gun, the pedicab, the car?

11. Nicole going to the tattoo centre, the secretary, the staff, her idea to track down Jimmy? Finding him, freeing him? Going to the striptease joint, Milo with Irene’s money, taking it from the toughs, the money free-for-all, the escape?

12. The information, going to the repository, finding Bobby, suspecting him, Earl? The shootout? The truth, Bobby being shot, Nicole and the gun and confronting Earl?

13. Nicole getting her story, but Milo taking her to the prison? Her phoning it through?

14. Milo, his assaulting the policeman, getting arrested, with Nicole in jail? The light touch – romance, the end of the battle of the sexes?

_THE BATTLE AT APACHE PASS

US, 1952, 85 minutes, Colour.
John Lund, Jeff Chandler, Beverly Tyler, Susan Cabot, James Best, Regis Toomey, Richard Egan, Hugh O’ Brian, Jay Silverheels, Jack Elam.
Directed by George Sherman.

The Battle at Apache Pass is a conventional western, the type of film made by Universal Studios at the time with its stars like Rock Hudson and Tony Curtis. John Lund had been a star of the 1940s. Jeff Chandler had emerged in Broken Arrow as Cochise and plays him again here, as he did also in Tarza, Son of Cochise. There is a strong supporting cast including some actors who were to emerge in film and television series including Richard Egan and Hugh O’ Brian. Jay Silverheels, who was Tonto to the Lone Ranger, plays Geronimo in this film. Jack Elam is a sinister villain as usual.

The film echoes the openness towards Native American Indians that emerged in the late 1940s with such films as Devil’s Doorway and, especially, Broken Arrow.

1. The popularity of this kind of western in the 1950s? Cavalry? Indian wars? Openness to the Native Americans?

2. The location photography, the west, the plains, the forts, the mountains? The Indian villages? The musical score?

3. The focus on Cochise, Jeff Chandler and his playing the role in three films? His bearing, dignity? His leadership of the Apaches? His relationship with Nono? Her pregnancy, the birth of the child at the end? The other braves in the tribe? His friendship with the military, with Major Coulton? His clashes with Geronimo? The physical fight? His supporting the settlement of the west? His promoting the dignity of his people? His shock at the betrayal, his being deceived, the hostilities, the deaths, his brother? The final making peace? Getting his wife to the doctor? The status of Cochise in American tradition?

4. The contrast with Geronimo, rebel, being supplied by dissident whites? Guns, alcohol? His fight with Cochise? The fellow rebels, their impatience with the whites? The intrigues with the official for Indian issues?

5. The clashes with the military, the fights, the skirmishes? The expedition by Major Coulton? The Indian Affairs official and his intrigues, sending out the military substitute? His use of Mescal Jack as intermediary?

6. The massacre, the set-up, the evidence? The battle at Apache Pass?

7. The range of characters, the personnel in the fort? The taking of the wagon train, Mary Carney, her presence at the fort, the attraction for Major Coulton? Her care for Nono? The doctor and his care? Sergeant Bernard and his involvement, Lieutenant Harley?

8. The popular ingredients of the western film – with the new emphasis on support for the Indians and their rights?

A WAY OF LIFE

UK, 2004, 93 minutes, Colour.
Stephanie James, Brenda Blethyn, Oliver Haden, Gareth Gethyn Evans, Sara Gregory, Matthew Jenkins, Nathan Jones.
Directed by Amma Assante.

A Way of Life is the first film of actress-turned director, Amma Assante. She won a number of awards in the UK for this first film and creative talent. She also won a SIGNIS commendation at the San Sebastian festival.

This is a slice of life in Wales. It is quite grim in its perspective and in its exploration of British prejudices and violence.

The focus is on a young girl, Leigh- Anne Williams (Stephanie James who won a number of best actress awards) who has a young baby, Rebecca. She tries to manage by herself. The father is absent. His mother, played by Brenda Blethyn, is good-natured but Leigh- Anne feels she is continually interfering. There are a number of young men who hang around, one who has ambitions to work in an old people’s home and loves her. Across the street is a Turkish man who has lived with his family for thirty years in Wales. He is the target of their anger and bigotry. Ultimately, he is killed – a scene which opens the film and which is brought back again at the end. His daughter, white, is the object of the love of one of the boys.

The screenplay is strong, expressing the feelings and the insecurities of the young people, their lack of self-esteem, their ingrained prejudices against anybody coming to the country, the violence that brims over – fatally in this case, especially with Leigh- Anne losing the custody of her child.

The film is not a story for answers, rather a vivid presentation of actuality, challenging the audience about their attitudes and what should be done about these characters.

1.The impact of the film? A first film? A woman’s perspective?

2.The Welsh coastal setting, the town, homes, streets? The ordinariness? Very British? Welsh? The musical score, the songs?

3.The opening violence, its recurring at the end? The vicious attack on the Turkish man, his death? Seeing the attack for the second time and knowing the characters?

4.The focus on Leigh- Anne, her baby, love for the baby? Her age, young, inexperienced, naïve, the vicious streak in her? Her protectiveness of the baby? Pimping Helen to the stranger to get money to buy clothes for the baby? Julie later taunting her about this? Annette and her visits, her clashes with Annette, the bitterness about the child’s father? Her friendship with Stephen, his love for her? Evin, Daryn, Robert? Their in and out of the household, the drugs, unemployed? Their age and inexperience? Their British prejudices against outsiders? Expressing this, violence?

5.The characters of the boys, Steve with his father, the job application, the potential? All destroyed? The boy and his love for Julie, the conflict and the attacks on him because she was from a Turkish family? The ignorance and the Turks being called Pakis? Robert and his looking after the baby? Their potential – all destroyed?

6.Annette, her character, love for the baby, interventions?

7.The social security officers, their visits, discussions with Leigh-Anne? The housing officer? The getting of the fridge and its inspection?

8.Leigh- Anne, her way of life, her love for her baby yet her self-centredness, going off and leaving the baby? Not knowing how to care for its health? Taking it to the hospital, its infection?

9.Hassan Osman, the neighbour, the conflict, the taunts from the young people? His protectiveness for his daughter? The street sequences, the confrontations? The library, the pursuit? His being the victim of the vicious attack? His daughter and her grief and dismay? Looking at her boyfriend?

10.The arrests, Leigh- Anne and the interrogations, screaming about her baby? The challenge to her about the consequences of what she was doing? Her inability to understand consequences?

11.What was the future of these young people?

12.How typical of British attitudes at the beginning of the 21st century? The lout culture? Drugs and drink? Sexual promiscuity? Racial prejudice and bigotry? Ignorance?