NELL GWYN

UK, 1934, 75 minutes, Black and white.
Anna Neagle, Cedric Hardwicke, Jeanne De Casalis, Esme Percy, Miles Malleson.
Directed by Herbert Wilcox.

Nell Gwyn is an early sound film from the United Kingdom – with a small budget though lavish re-creation of the 17th century. Herbert Wilcox had directed Anna Neagle in a number of films prior to Nell Gwyn. He was to continue directing her – in fact, all her films were directed by him (and she married him in 1943).

Anna Neagle was thirty at the time of making the film and is rowdy and somewhat raucous compared with the rather stately figure she presented in so many films, including several portraying Queen Victoria.

Cedric Hardwicke is hardly the choice for portraying Charles II. He is a very serious actor, serious-looking – and smiles several times but it is still hard to see the rakish king in his performance. Jeanne De Casalis is the Duchess of Portsmouth. Esme Percy portrays the diarist Samuel Pepys and Miles Malleson who wrote the screenplay (which is also attributed to the words of Charles II, Nell Gwynn and Samuel Pepys) plays a servant.

There have been many films and television series about Charles II. One of the most lavish was Michael Hoffman’s Restoration (1996) with Sam Neill as Charles II. Twenty years later, in Lilacs in the Spring, Anna Neagle was to portray a number of characters including some she had portrayed in other films including Nell Gwynn and Queen Victoria.

1.A film of its time? The style of the 1930s? Sound engineering? Costumes and décor? Performance? An interesting historical film?

2.The re-creation of the 17th century, London, the theatres, the court? The lavish black and white production? Costumes? The musical score, the Nell Gwynn Suite, the songs?

3.Audience knowledge of Charles II, the Cromwellian parliamentary period and his exile, his return and the Restoration? The Restoration style, the anti-puritanical reaction? His rakish behaviour? The loyalty to Charles II? James II and his presence in the film, his later history and the rebellion against him?

4.Nell Gwynn, Anna Neagle and her youthful style? A young girl, cheeky, orange-seller? In the theatre, rehearsals, her friends, drinking at the bar? The performance, the king attracted to her? Her response? Jealousy of the Duchess of Portsmouth? Nell Gwynn and her being cheeky to her, ridiculing her in the theatre, the large hat? The friendship with Charles, the relationship, becoming his mistress? Performance, going to the court and being snubbed, the king asking her to dance and the courtiers having to respond? The jealousy of the duchess, her lies to the king, his coming to the house, discovering the truth? The king dying, Nell and her being with him in his old age, going to the court, the final message of love? The portrait of Nell Gwynn, the actress of the time, sexual behaviour, patronage from the king?

5.Charles II, Cedric Hardwicke’s interpretation, serious? The background of the Restoration? His ambitions for England? The parliamentary sittings, decisions, his advisory board? Going to the theatre, his relationship with the Duchess of Portsmouth? Infatuated by Nell, the dancing, his patronage, taking her to court, the meals with her? His fidelity throughout the years? His dying, final message?

6.The Duchess of Portsmouth, her place as the royal mistress, her jealousy, poisoning opinion against Nell? Nell and her humiliation of the duchess, in the theatre, the personal confrontation?

7.Samuel Pepys, his fame as a diarist, as a character in the film, his place at court, his observations, his words?

8.Chiffinch as a servant, his influence, his presence at all the major events?

9.The background of the courtiers? Restoration style? The contrast with the people of the theatre, Meg and her loyalty to Nell, the rivalry with the duchess’s maid? Mrs Knipp at the theatre, her jealousy? The director?

10. A slice of English history? With the light touch?

ZATHURA: A SPACE ADVENTURE

US, 2005, 113 minutes, Colour.
Jonah Bobo, Josh Hutcherson, Dax Shepard, Kristen Stewart, Tim Robbins; Voice: Frank Oz.
Directed by Jon Favreau.

As a name for a film, Zathura does not give much away. They have added an extra, ‘A Space Adventure’.

Sometimes, it is very hard for adults, especially those who are not accompanying children to the cinema, to sit through some of the action movies designed for the young audience. Many more than usual will be able to enjoy Zathura. But, as with so many children’s films (from Nanny Mc Phee to Narnia), we start with children behaving badly. And, not only badly but obnoxiously – bickering constantly and at full screech. However, we know that they are going to be taught a lesson and that they will be better by the end of the film.

In Zathura, the bickering borders on the incessant and even the lost astronaut (later explanations of how he gets into the picture) has to scold the two brothers, one six and one ten, who are at the centre of this adventure. They have a fourteen year old sister who usually communicates with them at the level of ‘shut up’. But, she is asleep or in the bathroom for a lot of the film.

So, what on earth (or in space) is Zathura? It is a board game which the two brothers (Josh Hutcherson as Walter and Jonah as Danny) find on a Saturday afternoon while their father (Tim Robbins) is at a meeting. They not only play it, they live it.

Out into space they go, floating in their house. At first, it is enjoyable as they wind the key which will wind the machine to tell them how many moves they make and produces a card which says what action will be next. When the Zorgons attack, absolute mayhem results with the house smashed and trashed. The only way to get back home is by playing. The lost astronaut, mentioned before, turns up and tries his best to help.

Actually, there is quite a moral in the character of the astronaut and his identity which leads to the boys learning their lesson and a more fraternal future. Directed by actor Jon Favreau, who entertained us with Elf.

1.The appeal of this kind of children’s film? Younger-age audience? Parents and adults?

2.The basis of the film in a board game? Jumanji – and Zathura being a sequel? The popularity of this kind of game? Participation? Winning?

3.The realistic background, the home? The neighbourhood? The contrast with the house spinning through space? The atmosphere of space? Other planets? Interplanetary life? The musical score?

4.The special effects? The game? Space? The robots? The creatures? The stunt work?

5.The presentation of the two brothers, their ages, quarrelling and bickering? Tiresome? Lisa, at puberty, her different perspective on life? Her attitudes towards the brothers? Them to her? Their father, cheerful? His character?

6.The boys, discovering the game, starting to play? The effect of the house going into space? The meteor shower?

7.The playing of the game, the giant robot? Lisa and her being accidentally frozen?

8.The discovery of the stranded astronaut? His friendship, his background, working with the boys? The ship and the hostile Zorgons?

9.The words of the brother, his talking about losing his own brother, playing Zathura? His regrets about what had happened? His warning the older brother about the danger?

10.Lisa, revived, the Zorgons pursuing her, the siege of the house? The mayhem, the game going to the ship?

11.Danny, trying to finish the game, getting aboard the ship to get the game? The robot, Walter reprogramming? The robot defeating the Zorgons?

12.Walter, his wish, his generosity about the astronaut’s brother? The irony that the astronaut turns out to be the older Walter? The brother being Danny? The time travel, travelling in order to save Danny?

13.The finishing of the game, the black hole, finding themselves back on Earth? Everything back to normal? Their father and his return home – a more friendly future, especially between the two brothers?

LADY CHATTERLEY

France, 2006, 168 minutes, Colour.
Marina Hands, Jean- Louis Coulluc'h, Hippolyte Girardot.
Directed by Pascale Ferran.

There have been some expressions of surprise that a French company should film D.H. Lawrence’s Lady Chatterley’s Lover – but few English speakers have any qualms when Americans or the British film Madame Bovary, let alone Les Miserables. This French version is very well made, an intelligent interpretation of Lawrence and his world and world-view.

One of the difficulties is that naming the novel or even Lawrence brings up the obscenity trial in the 1960s – which in view of what has happened in terms of availability of novels and magazines let alone films and television, seems a bit quaint.

In fact, Lawrence wrote three complete versions of his story. The third was the centre of the trial. This film is based on the second version, a more straightforward telling of the story, called John Thomas and Lady Jane.

It is to the credit of the writer-director Pascale Ferran that she avoids any sensationalist or squalid presentation of the novel. It is frank and visually explicit (though not verbally) but appropriate to the context of the plot and characters.

This is the story of Constance Chatterley, married to Sir Clifford who has been injured in World War I – the film opens with a dinner party where the guests discuss the injuries and deaths in the war. Connie lives in the Chatterley mansion away from the town, isolated and lonely in the countryside. The film takes some time in helping the audience understand Connie, quiet episodes of her domestic life, moments by herself, quietly tense moments with Clifford.

It is then that she takes a message to Parkin the groundkeeper. He is a taciturn loner. However, as Connie continues to encounter him, she is sensually attracted to him and he responds to her. There are several scenes of sexual encounters where the emphasis is on the total response of each, not simple groping lust. The early encounters focus principally on Connie’s face to appreciate what is happening to her. As the liaison continues, each of them becomes more loving, more committed and freer in the expression, less inhibited. Lawrence’s moral framework is one of ‘freedom’ but he firmly believed in a total experience of sexuality: bodily, sensually, emotionally, even spiritually.

Marina Hinds, beautiful but not glamorous, is completely credible as the lonely woman whose marriage has eluded her and whose world is opened by the relationship with Parkin. Jean- Louis Coulluc’h is a perfectly ordinary looking Parkin. Hippolyte Girardot effectively creates tension as Sir Clifford.

The film is beautiful to look at with a lot of Merchant Ivory detail in production design and décor. The subject is one that not everyone is comfortable with, but this is an illuminating treatment of Lawrence and his novel.

1.Audience knowledge of D.H. Lawrence? His background, writings, ideas? His attitude towards sexuality, sensuality, nature, freedom?

2.The various versions of Lady Chatterley’s Lover, the film based on the second version, more straightforward, less philosophising? The background of the court case? The film avoiding this kind of philosophising?

3.The French sensibility, towards an English novel, understanding the English and their stances, reticence, the discovery of sensuality, relationships, love and commitment? The visuals of the sexuality and the sensual – not prying?

4.The location photography, France standing in for Yorkshire, the house and the land, the visits to the town and the shops? The holiday in France – and the home movie style of photography?

5.The steady pace, the various chapters, the voice-over? Mrs Bolton and her final looking to camera to speak?

6.The introduction to Connie, visual, silent, alone, their farewell to the car, at table during the dinner, smiling and laughing, with Clifford, caring for him, reading alone, in her bedroom, naked at the mirror? Marina Hands’ interpretation of Lady Chatterley? Body language, facial expressions? Her taking the message to Parkin, the delivery, seeing him washing, waiting, the effect on her?

7.The dinner, the friends, English society, class? The discussion of World War One, the trenches, the cannons, injuries and deaths? Willpower? Not wanting to die? Clifford and his injuries, being confined to his wheelchair? The servants helping him? Connie helping him?

8.Connie talking to Parkin, relaxing at the hut, dozing, asking for the key, Parkin unwilling, Parkin as a loner? The discussion with Cliff about the key? Her getting the key? Watching the birds hatching? Comfortable in visiting, the tentative approach, his consent to the sexual liaison? The encounter and the focus on her face? Indicating the experience? The effect on her, her return, the contrast at home, with Clifford, going through the woods? The sexual encounter at the tree? The mutual sexual experience? Again her facial communication? The development of the relationship, their talking to each other?

9.The change in Parkin? His being more tender, willing, Connie thanking him? His masculine response and his innate sense of being male? The nakedness, the sexual encounter, in the rain, uninhibited, sensual freedom? The flower decoration scene? The progress from need, sexuality and sensuality to love, freedom, the issue of commitment?

10.The issues of commitment, Connie suggesting she could buy the farm, Parkin and his male response and wanting independence?

11.Cliff, his character, his way of life, the bitterness and memories of the war, talking, meals, tension? His hearing the rumours about Connie? The discussions about having a child, a surrogate child? His decision, his snobbish attitude towards the potential father? Connie going on the holiday, his fear that she would not return? His relying on Mrs Bolton, her place in the household, caring for Clifford? Marshall and the other servants?

12.Connie’s sister, their friendship, going on the holiday, stopping to visit Parkin before they left, the style of camerawork for the holiday, France, the Riviera, the importance of the letters, Mrs Bolton and the information, the pleasures of the holiday, swimming? The concern about Parkin, his fight, his wife, the divorce?

13.Parkin as a character, strong, silent, a worker? Working-class? Separation from his wife? The news about the fight, Connie and her curiosity?

14.Connie, her visit to the shops, going to see Mrs Flint and her baby? The effect of seeing the baby?

15.The return, her walk, Mrs Bolton and the news, the bond with Parkin?

16.The final conversation, her being pregnant, his still being a loner, the love and dependence, the uncertain future? The sudden end in mid-conversation?

17.D.H. Lawrence’s insight into human nature, sexuality, freedom? A French interpretation of Lawrence? For the 21st century?

EPIC MOVIE

US, 2006, 80 minutes, Colour.
Directed by Jason Friedberg and Aaron Seltzer.

Films like Epic Movie (and its predecessors Scary Movie and Date Movie) are critic-proof in the sense that no critic in their right mind would consider them works of cinema art – and they don’t, especially the easily disgruntled critics. These films are pop entertainments for the movie-going crowd. They are always hit-and-miss in terms of their jokes and their senses of humour. They are usually slapstick in style with some crass bodily function jokes de rigeur. They are spoofs of the kind we expect on television, throwaway satires.

And, it always depends on whether you have seen the films they are sending up, otherwise why bother! You won’t see the point. Since the films always start at the top of the US box-office when they are released, it is clear that there is a viable market out there.

The makers of Epic Movie have been part of the team for the Scary Movie series and Date Movie.

When you think of it, there have been quite a number of epic movies in the last year or two to parody. Narnia (or Gnarnia, with a silent G for legal reasons!) provides the framework of the plot. Four orphans gather – from the murder in the Louvre, pursued by a flagellating albino monk; from an epidemic of snakes on a plane where a young African woman is on her way to Namibia to be adopted by Angelina and Brad; a bullied reject from the X Men academy and a reject from the monastery of Nacho Libre. They also find golden tickets to the Wonka factory where Crispin Glover does an effective Johnny Depp take-off.

They are set upon by Captain Jack Swallows from the Caribbean (and Darrell Hammond does an even better Depp-Sparrow? impersonation). Harry Potter and co are no help.

Meanwhile Narnia gets the full treatment with skits on Mr Tumnus, on the badger, with Jennifer Coolidge (always good) as the White Bitch and Fred Willard (doing a variation on his Christopher Guest films) as a very unsaviour like Aslo).

The film is quite up to date with a Borat impersonator turning up at the end.

It needs to be said for those who have a compulsion to leap out of their seats as soon as the first of the final credits appears that the credits last for 15 minutes of the 85 minutes of the film. They do break for a rather long, colourful song from the Oompa Loompas and a poke at Mel Gibson, drunk and insulting in prison.

Yes, it’s pretty corny and juvenile but, if you’ve seen all the reference films, you might enjoy tracking the spoofs.

The film-makers next project was the spoof of 300, Meet the Spartans.

HIGH CRIMES

US, 2002, 115 minutes, Colour.
Ashley Judd, Morgan Freeman, James Caviezel, Adam Scott, Amanda Peet, Bruce Davison, Tom Bower.
Directed by Carl Franklin.

This film plays liken one of those entertaining airport best-sellers that are engagingly page turning even though they may not be polished literature. High Crimes is a murder mystery, a courtroom drama and a military conspiracy drama. Its politics hearken back to more Clinton like years where writers and movie makers were comfortable telling stories of military cover-ups of botched raids (especially, as here, in Latin America). They are not the stuff of post September 11th American wars against terrorism.

The focus is on Ashley Judd, a successful lawyer who is forced to defend her husband (Jim Caviezel) who is accused of killing nine hostages in a raid. She enlists the help of ex-alcoholic expert, Morgan Freeman, which she needs because of the intransigence of the military court. When threatened psycholigcally and physically, she digs in, attempting to expose the truth unacceptable to authorities. As might be expected, there are a few twists before a violent climax - and a hopeful future. With veterans like Ashley Judd and Morgan Freeman, there is a reasonable amount of strong interactions and some dramatic tension. For conspiracy theorists, there is plenty of grounds for 'I told you so'.

1.An interesting and satisfying murder mystery? Court-martial? Military background? The law?

2.The Los Angeles settings, the San Francisco settings? The episodes in Mexico? The musical score?

3.Crime and investigation? Murder mystery – identities, victims? Clues? Investigation by the law? Themes and more?

4.The prologue, El Salvador in 1988, the video, the repetitions, the viewpoints? What happened – and the different versions? The American students, the leader? The second raid? The killings?

5.The consequences of action versus policy? The mistake? Injury and the report, insurance? The second raid, the training, the killings? The killers training – and the polygraph? The witnesses? The accounts? The deaths of witnesses, Chapman on the run? Banks, his rank? Authority? The threats? The courts – El Salvador and the pursuit of the truth?

6.Claire, Tom? The romance, her pregnancy, happiness? The burglary? Their future? Claire and the rape case? The television in the pool? Christmas? The arrest and the change of life for her?

7.Claire and her having to cope, the partner and the resignation, prison and the handcuffs? Meeting the Latin-Americans? Embry and his reaction? Learning the ways of the military? The visit to Grimes, her arrival, talk, the motions?

8.Claire and Jacquie, the money, arrival, Embry and the relationship? The attack, support? The polygraph? Not believing Embry?

9.Claire as a person, her strength, beliefs, Charlie? The friendship, the advice? The neatness of the theories, the polygraph, the authorities and their disdain? Hernandez? His stand? The attacks, the phobias and the jogging? Fear in the house? Charlie, the information, the judge and the documents, the tape? Banks and the two meetings?

10.Embry, insurance? The documents, the car crash?

11.Charlie, the drinking, work, his systems, the tapes and the witnesses, going to Mexico and discovering the truth?

12.The judge, Waldron? Banks and the discussion?

13.Tom as a character, his identity as Tom, the relationship with Claire? Nice? His identity as Ron Chapman? The polygraph? His lies, the uncovering of the truth? The phone call, the attack? His being killed?

14.Claire, the experience? Disillusionment? Love and betrayal? Family relationships, Jacquie? The friendship with Charles Grimes?

15. Satisfying thriller, mystery, conspiracy theory?

FOXFIRE

US, 1955, 87 minutes, Colour.
Jane Russell, Jeff Chandler, Dan Duryea, Mara Corday, Barton Mac Lane, Freda Inescourt, Celia Lovsky.
Directed by Joseph Pevney.

Foxfire is a routine Universal glossy entertainment from the mid-1950s. Universal had carved out a niche for itself with small but effective westerns, especially starring Audie Murphy, and had begun to make more elaborate soap operas and dramas, especially with Douglas Sirk and Magnificent Obsession.

Time has not been kind to Foxfire. Jane Russell and Jeff Chandler do not seem to appear to be the greatest actors that ever were. Jane Russell had a following after the notoriety of The Outlaw and some of her earlier films but had proven herself a good comedienne with Gentlemen Prefer Blondes. She was to star in a number of popular films at this stage: The Tall Men, The Revolt of Mamie Stover, Underwater, Gentlemen Marry Brunettes. Jeff Chandler had also emerged as a star from smaller-budget films like The Iron Man to his breakthrough role as Cochise in Broken Arrow. Dan Duryea was a regular villain in many films – though is more sympathetic here. There is an interesting cameo from Austrian-born Celia Lovsky as an Indian princess.

Director Joseph Pevney made a number of the smaller-budget films at Universal but moved to bigger-budget films like Away All Boats with Jeff Chandler.

The film focuses on mining in Arizona. The significant theme is racism, especially towards Indians. Jane Russell’s character early in the piece makes some deprecating remarks about Indians and soon has to change her words. The film shows the prejudice of snooty whites in Arizona, despising the culture and standards of living of the Indians. Jeff Chandler’s character is part-Indian – and makes a plea for understanding and collaboration.

The expected romance is there, the noble sentiments, some heroics.

1.A popular entertainment of the 1950s? The stars? Glossy style? Issues?

2.The Arizona settings, the mountains, the remote towns, the Indian settlements? Authentic? Colourful? The musical score – and the Mancini opening song?

3.The title, the credits and the light in the sky, the light from the mountains, the gold, the Foxfire Mining Company?

4.The focus on Amanda, the breakdown, her walking along the highway, the encounter with the Indians and the joking way about talking of not having a jack? The encounter with Dart and Hugh? Talking with them? The lift, her inviting them to the dance? Hugh and the attraction? Dart and his being late, shy, cunning? The immediate romance – how credible?

5.Dart, his background at the mine, engineer, Hugh as the doctor, his drinking? Maria as the nurse at the hospital? The work of the mine, Mablert and his scorning of the Indians? Tyson and his overall running of the company?

6.Amanda, her mother, wealth, New York, the paper? Wanting to get Amanda away? Consenting to the marriage? The marriage ceremony, the friends, the people from the mine? Princess Saba and her absence? The beginning of married life? Amanda, bringing the lunch, going to the mine, superstitions about women, the accident? Mrs Mablert and her visit, her scornful statements about the Indians?

7.The mine, Dart and his work? Hugh and his giving up the drink, attracted to Amanda, the comments by Maria? Her Indian background? Past relationship with Dart? Drinking with him and suggesting that Amanda had gone with Hugh?

8.Amanda’s visit to the Indian settlement, the tourists, the bus driver and his advances, listening to Princess Saba, the austere culture of the Indians, separation of children, not weeping? The moving presence of Princess Saba, memories of her husband? Love for her son?

9.The clash between Amanda and Dart, his not being able to express himself? Her going to hospital, Hugh looking after her? Her pregnancy? Her leaving, at the resort with Hugh, her spurning Dart?

10.The Indians at the mine, Mablert and his scorn, Tyson and his encouragement, the Indians going in, the collapse of the roof, the finding of the gold? The fulfilment of all hopes for everyone?

11.Dart, his return to Amanda, his burned hands, calling for her help, her arrival, decision to stay?

12.1950s Hollywood romance and happy ending?

BRAVE NEW WORLD

US, 1998, 87 minutes, Colour.
Peter Gallagher, Leonard Nimoy, Tim Guinee, Rya Kihlstedt, Sally Kirkland, Miguel Ferrer.
Directed by Leslie Lipmann and Larry Williams.

Brave New World is one of many adaptations of Aldous Huxley’s celebrated novel. Huxley was descended from a line of intellectuals and sceptics who influenced thinking in the late 19th century in Britain. Thomas Huxley and Julian Huxley as well as Aldous contributed to the philosophical reflection on the present and, especially, the future. In this they were in the company of such novelists as H.G. Wells, The Shape of Things to Come, and of George Orwell, especially with Animal Farm and 1984.

Huxley creates a futuristic totalitarian society. It is pointed out that when he wrote his novel the only such states were the Soviet Union and Mussolini’s Italy. However, in his imaginings, he created a world in which people had very little control over their lives and their fate. It is very much a Big Brother world. It is also a world of science, with cloning, with the use of drugs to control people. He also foretells a pornography of sexuality rather than a pornography of violence.

Huxley was a social writer more than a novelist and his ideas contributed to the reflection in the early part of the 20th century. Huxley also worked in Hollywood, contributing to the screenplay of Pride and Prejudice and died on the same day, November 22, 1963, as John F. Kennedy and C.S. Lewis. In this version, the hero is played by Peter Gallagher and Leonard Nimoy features as Mustafa Mond.

The film visually recreates a science fiction futuristic world. It was directed by Leslie Lipman and Larry Williams – Lipman working mainly in television, Williams having a short career and he was to die a year after the screening of the film on television.

1.The work of Aldous Huxley, his success and reputation, prophetic? Europe in the 30s and 40s? The models of the Soviet Union, Mussolini’s fascist Italy? The rise of Nazism? Post-World? War Two Iron Curtain experience? Communism? A 1990s interpretation of the novel for a contemporary audience?

2.The visuals of the film, the sets, the décor, costumes? A futuristic look? The musical score?

3.The film as simply a version of Huxley’s work, an interpretation and an update?

4.The title, the reference to Shakespeare’s The Tempest? Prospero and the anticipation of the future? Hopes and optimism? Healing? The reality?

5.The context of wars and destruction, human ills, love and possessiveness, the loss of individuality, the collective mentality? The loss of the arts? Economy and economics? Supply and demand? Systems? Controllers and directors? An elitism? Grades in the hierarchy? The world of brainwashing, television images, slogans? The populace not using their brain? A happy and contented populace? Wishes and whims, pleasure? Not denying any whim? The promise of comfort? The role of education? The non-comprehension of what was happening by ordinary people?

6.The world, the controller, the world of Big Brother – but more benign? The chemist and the choices? Art and reading? Languages, philosophy? The decisions? Bernard and his being the centre of the story? The discussions, the options for happiness? John and Bernard?

7.The director and his control, mean-spirited? The traditions of Marx and Lenin? Brainwashing? Meetings? The irony of the secret, deletion?(**??) The treatment of Linda? Death? Brainwashing the Delta? Exposed and conditioned?

8.Bernard, his personality, his skills? Questions? Savages? John and Linda, his experience, the return? The director of hatcheries and conditioning? The controller? His relationship with Lanina? - her name – philosophy, efficiency, the social concern, the touches of jealousy? His experience with John? The truth about the director and the Betas? The director and discussions, the job? John’s death? Pregnancy, options, the ending?

9.Lanina and her teaching, friendship? The hedonistic background? Children? Bernard, John and Linda? The effect? Thinking but not understanding? The possibilities for change and growth, John’s death, pregnancy?

10.John and Lanina, the assault, issues of life, their agreement? Shakespeare? First impressions? Linda and her story, a whore, drunk, hospital, death and the callousness? Social issues, sexuality, explanation? The children laughing? Death?

11.The children, lacking in understanding, the role of the teachers, ineffectual?

12.Media, television, control, the parental role, television as ‘mother’?

13.The Alphas, rules, their self-centredness?

14.The Deltas, the feeling, the house, the brainwashing, the attack?

15.Issues of pain, happiness – as if God had intervened?

16.Choices, tragedy, human nature, survival?

17.The dramatisation of these themes – for a science fiction futuristic film? As an interpretation of the more philosophical and socially concerned ideas of Huxley?

SNAKES ON A PLANE

US, 2006, 107 minutes, Colour.
Samuel L. Jackson, Juliana Margulies, Nathan Philips, Bobby Cannavale, Flix Alexander, Rachel Blanchard, Lyn Shaye, David Koechner.
Directed by David R. Ellis.

Well, of course, that is exactly what it is.

A red-eye flight from Honolulu to LA with the FBI escorting a prime witness, who has seen a brutal murder by a gangster, plus a plane half-full of the usual cross-section of types and the usual flight attendants. What would any criminal do to stop the witness getting to court to testify? Well, here is one scenario - though Samuel L. Jackson does tell LA that he is in the middle of a security scenario they never thought of: put a whole lot of snakes in the cargo hold, sprinkle the Hawaiian leis with stimulants and set a mechanism to let the snakes loose after the meal service! How they got the snakes (all exotic and not native to the US let alone Hawaii that has none) through security over to Honolulu and then shifted them to the return plane defies realism. But realism is not really an ingredient of the movie.

Thank goodness Samuel L. Jackson and Juliana Margulies are on board to bring some heroics and common sense to the proceedings. Jackson takes it all quite seriously – except that every so often he drops a ‘cut the ground from under your feet’ sardonic remark, including a quotable expletive quote. Australian Nathan Philips (Wolf Creek) gets his first chance at international stardom as the witness.

The writers must have been through every screenplay collecting all the situations they could and popping them all in to provide a mixture of fright, panic, mayhem and final victory! In moral terms, it is the couple up to sexual hanky panky that get killed first.

For older film buffs and fans who have watched the old movies over the years, it is enjoyable spotting the predecessors: point of no return from The High and the Mighty, loss of pilot from Airport 75 with flight attendant flying the plane, possible crashes from Airport 77 (though no bomber on board as in the original Airport), passenger help from Fearless, the theme of the Red Eye from Red Eye, panicking mothers from Flight Plan, crawling through the gear from Executive Decision, doom from Final Destination, obstreperous passengers from Passenger 57 etc etc – and an ending from the Flying High/Airplane series!

Snakes on a Plane is nearer to Flying High than The High and the Mighty. There are nice and heroic characters. There are some obnoxious ones (the worst of whom is thankfully devoured by a python). But, dog lovers beware! And Playstation 2 will be grateful for product placement.

1.The tone of the title? A cinema concoction? Internet interest, contributing to plotlines and characters? Publicity? Public reaction?

2.The Hawaiian settings, the locations, California? The musical score?

3.The plane itself, the detail and airports, boarding, the areas in the plane, authentic atmosphere for the melodramatics?

4.The tradition of the air disaster movie, the animal menace? Terror, the structure of the film and its dialogue, the expose of the criminal, the plan to destroy the witness, the FBI, the flight, the crisis? The snakes gradually emerging? Fright and fear leading to terror? The various deaths? The survivors? The final heroics, the climax, safety?

5.The prologue, the gangsters, the brutal murder, Sean Jones as the witness, his reactions, the threats?

6.Neville Flynn, the discussions with Sean, pressure and persuasion, the witness protection, his agreeing to go to America?

7.Neville Flynn as hero, his background, a strong silent police type, accompanying Sean, the arrangements, going on board, interactions with the various passengers? During the crisis, taking charge, using his wits, his language – and his famous line about the snakes on the plane? Handling of situations?

8.The gangster, his plan, henchmen, the contact in California, the plausibility or possibility of getting so many snakes to Hawaii, actually getting them on board the plane, concealing them? The powder and its provocation on the garlands?

9.The plane, the airport, the ordinary procedures that audiences could identify with, check-in, the routines?

10.The pilots, their characters, goodfellowship, the flight attendants, the focus on Claire? The various dangers, their coping, the pilots’ deaths?

11.The passengers, the gallery of characters, ordinary people, the couple having sex and their being the first to die, the moody and arrogant singer, his not wanting to be touched, his bodyguards and their computer game skills? The glamorous young woman and her poodle? The angry man and his complaints – and his throwing the dog to the python, his being consumed by the python? The nicer people, especially Grace and audiences knowing she was the one to sacrifice her life?

12.The problem with flying the plane, Flynn and his making a hole in the side, the snakes being drawn out? No pilot, Claire, the bodyguards – and their theoretical capacity for flight? Taking over, success?

13.The various crises, moving the passengers around the plane, Sean and his heroics, the mounting danger, searching everywhere for the snakes, their different styles, emerging?

14.The theory about the venom to counteract the poisoning? The phone calls, the police going to see the snake dealer, his confession, the information about the snakes, the doctor and his skills, sending the information over the phone? Preparing for landing – and the readiness of the medical staff for the passengers in Los Angeles?

15.The authorities, Los Angeles, having to cope, the puzzles? The doctors?

16.All’s well that ends well!

STARTER FOR TEN

UK, 2006, 97 minutes, Colour.
James Mc Evoy, Alice Eve, Rebecca Hall, Katherine Tate, Dominic Cooper, Benedict Cumberbatch, James Corden, Mark Gatiss, Guy Henry, Charles Dance, Lindsay Duncan.
Directed by Tom Vaughan.

This is a very entertaining film with quite a few laughs. Audiences all around the world should find many things in it to like. However, it is a special treat for British audiences, especially those who watch BBC television, BBC 2.

There is the inevitable question, what does the title mean? Is it about horseracing, for instance? Is it about betting on races? Is it a film about drinking and an aperitif before getting on to the heavy stuff? No, none of the above. The title comes from the long-running program, University Challenge. For those not in the know, this is one of Britain’s prestige quiz programs (with spin-offs in other countries including India). Two teams of four from two universities compete each week to move to the next round on their way to the final play-off.

The method, by the way, is to begin with a question for individuals to answer without conferring (the fastest finger on the buzzer answers first). The team with the person who answers correctly then have three bonus questions where they can confer to give the answer. Each of these bonuses is worth five points but to begin with it’s a starter for ten!

Which is background to a nice British comedy about a polite young man who loved to watch quizzes with his parents and is pretty good at knowing answers getting into Bristol University. When he sees the notice for University Challenge, he turns up for the audition. Needless to say, there is some eccentricity in the membership of the team, especially the bombastic captain who has led his team to defeat for three years.

The setting is 1985 (with a soundtrack compilation of songs of the period).

No, it’s not just a film about the quiz. There is much more to it than that, but University Challenge does supply a tone to the style of the film, the practice, the funnier aspects of rehearsals and a climax that no one is expecting.

What is important is what happens to our hero, Brian Jackson, played with just the right blend of diffidence and hope by James Mc Avoy. He was a mischievous quadriplegic in Inside I’m Dancing and won a Best Newcomer award for 2005 for his performance as, Mr Tumnus, the faun, in The Chronicles of Narnia. While Brian is a nice home boy, devoted to his mother (comedian Catherine Tate) and missing his father who has been dead for ten years, he also has some Essex friends – the setting is Southend – who don’t really empathise at all with his more academic and literary interests. (They are played by Dominic Cooper and James Corden who featured prominently as more upper crust students in The History Boys.)

Off he goes to Bristol, rooming with two odd students, encountering the Jewish Rebecca who is a compulsive protestor and then falling for Alice who gets a place on the University Challenge team only because she cheated with Brian’s help. The other member of the team is an eager questions answerer, Lucy Chang (Elaine Tan). For those who have watched the program for decades in its pre-Jeremy Paxman days, Mark Gattis of the League of Gentleman, does a wonderful impersonation of compere from 1962, Bamber Gascoigne.

Brian has never really been exposed to falling in love and relationships and there is a blend of humour and poignancy in his literally fumbling attempts with Alice (and a disastrous visit to her parents, Charles Dance and Lindsay Duncan). He tries hard to come to terms with his mother having a boyfriend, the Mr Whippy man from down the street. Things also get complicated when one of his friends comes to visit, gets involved in a fist fight and falls for Alice, let alone the dramatics of the quiz.

The screenplay is by David Nicholls adapting his popular novel (which received a boost from the Richard and Judy show). It is an engaging blend of niceness, naivety and the pain of having one’s eyes opened to the realities of life.

1.An affable piece of entertainment? Memoir? For British audiences? World-wide?

2.The title, its use on the University Challenge program, Brian and his memories of childhood? Answering the University Challenge questions? His ambition to be on the program? Achievement – and failure?

3.The Essex settings, the seaside, the piers, homes, shops and clubs? The contrast with Bristol, the university? University digs? The wealthy country homes? Manchester and the BBC studios?

4.The musical score, the range of songs from the 80s?

5.Brian, nice, his age, seeing him as a child? At home with his mother and father, his father and his coat, the photo – the poignancy of his death? Watching quizzes, answering the questions? His friends in Southend, their sharing, discussions, audiotapes, ambitions, lack of ambition? Brian going to the interview, his incessant talking, the panel, their accepting him?

6.Brian and his mother, her being a widow, fussing, giving him extra food, coming home at Christmas, Brian discovering her in the bath with Des, her friendship with Des, the Christmas celebration, her fer that he was going to say he was gay and her laughing, his coming back from the wealthy home, her support, Des and the ice-cream truck, going to Manchester, their support after his gaffe at University Challenge, wanting to get rid of him in a good sense at the end?

7.His arrival in Bristol, his hopes, the digs, the two eccentric men in their dresses, taking him to the Vicars and Tarts party, their getting the money out of him, no change? His meeting with the eccentric man who went to India? His meeting Rebecca, their discussions? His naivety? Taking the University Challenge notice, being late, the reaction of Patrick? The talk about University Challenge, the test, Alice and her being late, his giving her the answers, the result and his not being on the team, his deferring to Alice? The other members of the team – and the young man and the accident and Brian taking his place?

8.Patrick, his pomposity, the video of his losing the challenge, his reaction with the group, in charge, his rehearsals?

9.Brian, his birthday, taking Alice out, the discussions, seeing Rebecca from the window, the bonds with Alice and with Rebecca? In love with Alice, going to the protests? The going home for Christmas, Des and his mother, his friends, their conversation, wondering whether he had changed? Going to Alice’s family, the meal, talk, the pot, his going to kitchen, their being naked, his being ousted? Alice not wanting to wait at the station?

10.Back to Southend, the discussions with his friends, their characters, the tapes, ambitions? Their return to Bristol, reactions? Their preparations for University Challenge?

11.Alice, her character, flirting, wealth, cheating, her wanting to act, going to dinner with Brian, the long stories about her boyfriends, home at Christmas, her not waiting at the station, at the party, cheating with Spencer? Her reaction, Brian’s reaction?

12.New Year, with Rebecca, their sharing, his calling her Alice, her being hurt?

13.The party, Spencer coming to Bristol, the encounter with Alice, Brian’s dismay? The punch-up with Patrick, the mayhem?

14.Going to Manchester, the preparation for the taping, the fight, the blood, Brian and his lying down, Rebecca and her coming, looking after him, his parents? Seeing the question?

15.The set-up, everybody there, the program, Bamber Gascoigne and his style, the team not having success, the disdain from the Oxford group, the gradual success – and the answer to the question before it was asked, the collapse of the program? Brian in disgrace? Going home with his mother and Des?

16.The aftermath, his going home, moping, the discussions with Spencer, Spencer in the suit on the beach, urging him to return? Not answering Rebecca’s phone calls? Eventually going, in the corridor, bypassing Alice, going to Rebecca? The lecturer welcoming him back? The protests, with Rebecca – and hopes for his life?

LIFE AND LYRICS

UK, 2006, 100 minutes, Colour.
Ashley Walters, Louise Rose, Christopher Steward.
Directed by Richard Laxton.

Another trend in British film-making in recent years, along with ethnic comedies and dramas with Indian and Pakistani casts, is the film about black Londoners. As the actor Ashley Walters has said, he would prefer to see films about his own world and experiences and would go to sleep during Four Weddings and a Funeral. Walters himself appeared in a strong black drama, Bullet Boy. Another 2006 film on black students in London schools was Kidulthood.

The title indicates that songs and music are an important part of the life of this film. We see a young man, Danny, (Walters, himself a singer as well as actor) who writes songs and records them with his friends. Meantime, he works in a record store which specialises in vinyl and is going out of business. There is also a local rap competition (as in the US film with Eminem, 8 Mile) which aggravates the rivalry between different groups. When Danny is attracted to a young woman, Carmen, from an affluent background working in a solicitor’s office, they begin an affair which has emotional consequences for friends and relatives and leads to gun violence.

Danny’s friend from the orphanage, Fable, is searching for his birth mother and is upset that Danny is neglecting him and his friends. Carmen’s cousin is the right hand man to the leader of the rival rap group who is jealous of Carmen. The climax is the rap clash, with its poetic insults, and a shooting.

The film is well made and has some force even though the characters and many of the incidents are what we might expect. It is a glimpse into another London world, another lifestyle, another set of dreams and ambitions.

1.A London story? The various parts of London, rich and poor, the gangs? The music world of London suburbs? The blending of these themes?

2.The authentic settings, the filming in the streets, South London, the flats, the clubs, the studios? The contrast with the more affluent suburbs?

3.The title, the relationship of the lyrics to people’s lives, the songs, the writers? The fact that Ashley Walters and Louise Rose are singers and musicians? Authentic feel? Despite the contrived nature of the story, the events?

4.The background of rap songs, the US popularity, black rap, Eminem and the contests? Rap in London, the Mic Masters competition? The vigour of the contests, the black rap, the verbal skills, the verse, the insults, the response of the audience and the applause? The Motion Crew versus the Hard Cash Crew? The return to the competition at the end, symbol of the story, the competitiveness, hard? Leading to violence and death?

5.Danny, his relationship with his group, leader, the bonds, singing, lyrics? His friendship with Fable and their growing up in the orphanage? Relying on each other? The other members of the group, their musical skills, friendship? Family? The music, the rap songs, the hopes for records, their testing out recordings, together as friends? Danny as a character in this context?

6.Carmen and her background, her work, training in law, her wealth, family, Danny attracted to her, following her, their being together, the bonds, Danny moving away from Fable? Fable’s anger? Carmen’s cousin, cash flow? Tensions, the jealousies, Money Man and his jealousy? The money, the gangs, the danger?

7.Danny and his working at the shop, vinyl records and their going out, changes, fewer customers, the owner and his selling the shop?

8.The character of Fable, a friend, from orphanage days, the bonds between the two, the beginnings of the bonds breaking, Fable and his seeking out his mother, going to visit, her reaction, her husband sending him away, the mother finally contacting him, moving away from London, the possibility of visits, the effect on Fable?

9.The destruction of the equipment, Fable and his revenge and his vandalising the car, Money Man and the group, the anger, buying the gun, the threats? The build-up to the competition, Fable and his role, the two groups, the rivalry, the audience responding? Fable outside, Money Man shooting him? The police, arrests?

10.Daniel and Carmen, the differences, going to her place, the build-up of acrimony, Fable, the possibility of recording, the reactions of the group? Her singing at the club? Suspicions, the competition, Fable’s death and its effect on Danny? The truth about Carmen, the recording possibilities, a future?

11.A showbiz story – in a different context?