LES AMOURS DE ASTREE ET CELIDON (THE ROMANCE OF ASTREA AND CELADON)

France, 2007, 109 minutes, Colour.
Andy Gillet, Stephanie Crayencour, Cecile Cassel, Veronique Reymond.
Directed by Eric Rohmer.

The Romance of Astrea and Celadon is a film that could be made only my Eric Rohmer or one of his disciples. It is based on a 17th century novel by Henry D’ Urfe. In turn, it is a novel about the times in Gaul in the 5th century at the time of the collapse of the Roman Empire and the establishment of the Gauls- especially in the French countryside. However, Rohmer has chosen to film it in 17th century style while keeping the plot in the 5th century.

Rohmer is a man who has made moral fables for 50 years or more. In the 1960s with such films as My Night at Maud’s and Claire’s Knee, he established himself as a perfectionist in artistic and morally restrained films. It was the implicit values, the delicate presentation of character and interactions, which charmed audiences as well as critics. As the decades went on, he chose to do a range of moral stories and fables including Pauline at the Beach, The Fine Marriage, as well as historical films like The Marquise of O and Percival the Gaul.

Even at the beginning of the 20th century, he made a costume drama, The Lady and the Duke as well as a more contemporary piece, The Triple Agent.

This film is beautiful to look at - it is almost a museum piece, full of tableaux of shepherds and shepherdesses in the French countryside (near the Loire river and its shadows), in woods, in castles. The dialogue is very much of its era - which also makes the film something of a museum piece.

There are echoes of the 17th century writings of Shakespeare and his lyrical and pastoral plays. Realism is not to the fore though much of the action takes place naturalistically. However, there is a tension between the realism and the artificiality of the dialogue and many of the set speeches (a feature of Rohmer films).

The film is the basic one about love, deception, the hardness of heart of the woman and the despair of the man, intervention by special characters who are able to heal the wounds and bring the couple together again. This is done with the background of Nature Religion and the Druids - but with speeches, especially about the three facets of the gods, which incorporates aspects of Christian Trinitarian Theology.

Not to the taste of contemporary audiences - more an illustration of the style of filmmaking that Rohmer specialised in and a view of a more French literary tradition.

1.The many decades of Eric Rohmer’s work? Visually beautiful? Literary? The importance of language, dialogue? Romance? Moral fables?

2.The origins of this film in a 17th century tale, the decision to make the story visual as of the 17th century? The original setting of the story in the 5th century? The verbal references to the Gauls and the Romans? Suitable for this 17th century style?

3.Costumes, pastoral? The locations, the river, the village, the forest? The castle? Interiors? The look of the film – in terms of painting? Tableaux?

4.The title, the romantic nature of the story, the characters? Misunderstandings, fidelity, love?

5.The focus on Astrea, the shepherdess, her friend telling her about Celadon? Her going to the fair, seeing Celadon dance with the girl? Her having commanded him to deceive his parents and flirt with the girl? The banquet? Celadon and the girl kissing him behind the tree? Astrea, her reaction, her jealousy?

6.Celadon, the shepherd, his family background, his working for his living? Going into the fields, calling Astrea, her refusal to speak? Her accusations, her bitterness? His inability to defend himself? Her banishing him? Forbidding him to come unless she called him?

7.Celadon, despair, throwing himself into the river, going downstream, on the sand? Rescued by the nymphs? Being taken to the castle? Their knowing his identity? The Druid uncle and the prophecies? Galathea and her attraction to Celadon? Leonida and her taking care of him? The food, the clothing? Her helping him to escape?

8.Galathea, the nymphs, the prophecies of the Druids? Their taking Celadon to the castle? Galathea and her being excluded because of his love for Astrea?

9.The palace, the Druid uncle, his hold over the household? His helping Celadon? Reliance on Leonida? Sylvie and her care for Celadon?

10.The Druid religion, the nature religion? The names of the gods? The long discussion between the Druid and Celadon in the forest, the Roman statues, aspects of the god? The long theological discussion about the three aspects of God in the one God? The mixing of Catholic theology with Druid mysticism?

11.Astrea, her grief? Phillis and Lycidas and their condemnation of Astrea? Her acknowledging the truth, her hardness? Going with the group to celebrate the Mistletoe Feast?

12.Celadon in the forest, the uncle helping him to build the tent? His staying there? His dreams of Astrea?

13.His seeing Astrea in the forest? Going back to the castle? The decision to disguise him as a woman? The group coming to the castle? Leonida and her help? Phillis and her help?

14.The credibility of Celadon’s disguise as the daughter? Veiled? The others and their looser dress? The attraction towards Astrea, her attraction towards Alexia? The sexual overtones – or not?

15.The build-up to the night, the separate beds? Astrea and her breast? The effect on Celadon? The morning, the talk, the preparation for the day?

16.The celebration, the rituals, Druid nature religion? The mistletoe? Astrea and her change of heart, her recognition of Celadon? The prospects for a happy ending?

17.The film as old-style film-making? Classic? With the touch of the museum piece? The statues and tableaux? The 17th century pastoral stories like those in Shakespeare? For a 21st century audience?

UNE FILLE IN DEUX (A GIRL CUT IN TWO)

France, 2007, 115 minutes, Colour.
Ludivine Sagnier, Benoit Magimel, Francois Berleand, Mathilda May, Caroline Silhol, Marie Bunel.
Directed by Claude Chabrol.

A Girl Cut In Two is Claude Chabrol for the 21st Century. For more than 40 years, Chabrol wrote and directed many films about French society, fidelity and infidelity, violence and murder. These are the ingredients of this particular film, which is based on the story of Stanford White and Evelyn Nesbitt at the beginning of the 20th century (alluded to in Doctorow’s Ragtime and dramatised by Richard Fleischer in The Girl in the Red Velvet Swing with Joan Collins, Ray Milland and Farley Granger, 1955).

The centre of the film is the girl who is cut in two, emotionally, played by Ludivine Sagnier. The two men in her life are an aging writer, famous, married for 25 years but a roué. She falls in love with him, infatuated but in love. She is pursued by the schizophrenic son of an industrial family, played by Benoit Magimel who had appeared in several of Chabrol’s films. Ultimately, she marries the young man while always being in love with the older author.

This plays havoc with the suspicions of the young man and, finally, in a public place he shoots the author. The film shows the consequences of the shooting on the young woman who has had to move from naivety and gullibility and ambition in her role as a television weather performer to an interviewer and her future.

She is finally seen, symbolically, working for her magician uncle in the trick of the woman sawn in half. However, during the final credits, there is a close up of Ludivine Sagnier, whole - and a survivor.

While this may not be one of the greatest of Chabrol’s films, it has all his hallmarks of skill and his interesting themes.

1.Cabrol’s work over forty years? The similarity of themes: society, class clashes, relationships, fidelity and infidelity, sexuality and sensuality? Celebrity?

2.The French world, an authentic world of the author, the TV world and its deceptions, trickery and magic? The world of industry and the wealthy? The scenes in Lisbon and the contrast with France? The musical score?

3.The title, the final images and the magician’s trick? The symbol of Gabrielle’s divided experience? The final close-up, her survival?

4.The introduction to Charles, Capucine and her driving, the blood-red colour on the car, the radio and the opera, turning it off, entering the real world? Charles and his relationship with his wife, age, devotion, married twenty-five years? His success, status, people’s adulation? His books? Wealth, his lavish house? The television interview and his comment about Puritanism or decadence? In the makeup room, flirting? Gabrielle meeting him, his attraction? The book signing, his flirting with the women? Paul and his attack? The auction, his explanation, buying the manuscript, erotic, the gift for Gabrielle? Taking her to his secret apartment, the sexual relationship? Taking her to the club, the decadent men and their discussions, Capucine and her presence? Sexual behaviour – all unseen? His going to England, saying goodbye to Gabrielle? Later, hearing of Gabrielle’s marriage? The visit during her dress fitting? Her continued love for him? His lies to his wife? The restaurant with his wife and Capucine, Paul’s sarcasm? His speech at the dinner? His death?

5.Paul, his appearance, age, manner, schizophrenic, his minder? The book signing and his verbal attack on Charles? Saying he despised this class? With Gabrielle, the meeting, taking her to dinner? Her saying she was not in love with him? His pursuit, the drunken approach, the flowers and his apology? Charles’s flowers? Within his family, his mother, his sisters? His whims, throwing the glass on the floor? The phone calls for Gabrielle, his gifts, taking her to Lisbon? Pressuring her to marry him? Her resistance, her drinking, change of heart? The marriage preparations, taking her to dinner, his mother’s arrogance? The ceremony, his suspicions about Charles? The build-up to the occasion, the shooting?

6.Paul’s mother, her type, her daughters and their haughtiness, the flirting sister? Paul and the criticism? Society, doing charitable work but not looking after her children? Her being against Gabrielle? The speech, the shock at the shooting, managing Gabrielle, the issue of the money, Gabrielle’s testimony, her telling the story of Paul and the death of Thibault in the bath?

7.The character of Gabrielle, seeing her on air, the weather girl, in the makeup room, with the bosses and their flirting with her, the issues of promotion, her being her own woman, independence? Seeing Charles, infatuated? The credibility of their relationship? Charles’s friend and the story of his twenty-two-year-old daughter and the fifty-year-old man? Charles and the book signing, the auction, the gift of the book, the sexual encounter, his cavalier attitude, her throwing the book back? Her going with Paul, the dinner, Paul and his pursuit? Her going home, the strong bond with her mother, talking everything over with her mother? Her dressing in the provocative dress, the feather for Charles? Not humiliated or ridiculous? Going to the club – and not seeing what happened to her? Her naivety, gullibility? Charles’s leaving, her fretting, staying at home, Paul and taking her to Lisbon, her gift for him, the pressurising to marry, the critique of Charles, her drinking, accepting? The cold meal and Paul’s mother and her rudeness? The dress fitting and her relying on her mother, Charles’s visit, declaration of love? The wedding, her married life, tensions, Paul and the sexual experience, suspicious of where she had learnt her techniques? The build-up to the dinner? The shooting? Paul’s mother and the pressure, the story of Thibault, her testimony?

8.Gabrielle’s mother, kindly, confiding in her daughter, listening to her daughter? The uncle and his help? The uncle and his finally offering her the job – the presentation of the saw and the girl cut in two?

9.Charles’s wife, her continued fidelity, calling her a saint? Capucine, the editor, manager – and her sinister presence in the club?

10.The world of television, ambitions, interviews, superficiality? Sexual favours for promotion? The world of the authors, the decadent rich? The ordinary world and the attractiveness for people to move to wealth, celebrity, glamour?

11.Claude Chabrol, the background of the Stanford White case in the United States – reworking the murder of a celebrity? For the 21st century?

THE NANNY DIARIES

US, 2007, 105 minutes, Colour.
Scarlett Johansson, Laura Linney, Paul Giamatti, Nicholas Reese Art, Donna Murphy, Alicia Keys, Chris Evans.
Directed by Shari Springer Berman and Robert Pulcini.

The Nanny Diaries is based on a satirical novel of 2002, written by Emma Mc Laughlin and Nicola Kraus who had spent a total of eight years as nannies in about thirty families in affluent upper-Manhattan. The novel had a scathing portrait of the people of the upper-Manhattan area - the film is scathing but less so, a touch more benign despite the horrible behaviour of some of the characters.

The film takes an anthropological point of view, especially in the opening sequences in the museum and the tableaux of various people in New York City. This is a story of a girl from New Jersey, from a poor family, who accidentally becomes a nanny, becomes attached to the child she is looking after, is used as a slave by inconsiderate employers.

Scarlet Johansson is good as the nanny. Laurel Linney gives a superb performance as a selfish and arrogant New York matron. Paul Giamatti is very good as
the neglectful husband.

The film contrasts the world that Annie came from with the world in which she finds herself, immersing herself, and writing a kind of anthropological essay about this different culture. She does have the opportunity at the end to make a video to voice all her criticisms and target the Laurel Linney character, Mrs. X.

The writer-directors, Shari Springer- Berman and Robert Pulcini were responsible for the excellent film, American Splendour with Paul Giamatti.

1.An anthropology of Upper Manhattan? For American audiences? Worldwide? American wealth and privilege, arrogance? American privilege and class distinctions?

2.The moral about the wealthy, society, self-centredness, children, family, rearing children and consequences?

3.The opening voice-over from Annie? The museum, the commentary, the various tableaux, the sociological and anthropological observations? The introduction to New York, the career women in the street, their CVs? The Upper Manhattan wives and their empty and full lives?

4.The character of Annie, her voice-over, her life with her mother, going to the interview, the question of who she was? The graduation? The job, discussions with Lynette? Getting out at the wrong stop, the failure of the interview? Sitting in the park, imagining she would be a bag lady?

5.Grayer and his being in the way of the vehicle, Annie saving him, his embracing her? Mrs X, her arrival, fuss, giving the card, the collage of all the other wives wanting her services? The interviews and her reactions? Mrs X taking Annie to lunch, her faux pas about the burger? Her lack of qualifications to be a nanny?

6.The detail of her leaving home, singing with Lynette for freedom, arrival at the house, not telling her mother the truth, Maria’s lack of welcome, the note from Mrs X, the details of the rules, the apartment, Mrs X’s wardrobe, taking the bath – and discovering her real room?

7.The New York world, apartments, offices, taxis, the Fourth of July party, museums? The upper-class life and the lower-class life? Ordinariness – and the role of the subway?

8.The women leading glossy magazine lives, tofu food, elegant clothes, not having any work but having no time, going to seminars about nannies?

9.The nannies, Annie and her lack of experience, knowing it only from films, the umbrella, the Mary Poppins music and images? Meeting the other nannies, the three groups – and the fulltime nanny? The talk, the nannies amongst themselves, their characters, lack of attention to their own families, the hard work? The way they were treated?

10.Annie, her life, the various jobs, slaving for Mrs X? Mr X and his not even looking at her? His treatment?

11.Grayer, picking him up from school, hard, misbehaving? The Harvard man and his help? The bond between the two? The humiliation when he first saw her? Grayer and the secrets, his name of Grover, his coming to depend on her, Mrs X and the various parties, his being bored, his birthday party and the elegant clowns? Her giving him peanut butter and jelly? The day off, taking him to the museum, his exhilaration, on the subway? Eating the wrong food?

12.The Harvard man, help, Lynette and Annie out, the bar, invited over, the men and their crassness, Annie’s hard words? Harvard’s apology, sending the roses (and Mrs X throwing them out)? Asking for dates, being late because of the inquiry by the expert? The night together? His inviting her to the Hamptons, her feeling she couldn’t go? The end and the bond with him?

13.Laura Linney as Mrs X, no regard for anyone else, imperious, Mr X and his money fixation, his deception of his wife, Annie seeing this at the Fourth of July party? His attempts at reconciliation, the anniversary and his staying in Chicago and lying, the party, going to Nantucket? The loud arguments? The effect on Grayer? Mr X’s mother and her coming, no help for Annie?

14.Annie’s mother, her concern, the phone calls, wanting to visit, Annie telling lies, fixing up the apartment with Lynette, her boyfriend cooking? Grayer’s health, having to tell her mother the truth, her mother coming to help?

15.The final clash, her being fired, leaving? Grayer and his being upset? The apartment with the camera, Annie’s tantrum, talking to tape condemning Mrs X?

16.The women’s groups, the fashionable women, the woman in charge and facilitating, playing the video? Allowing the video to go through, Annie and her condemnation, Mrs X and her tears, leaving the room?

17.The Harvard man bringing Mrs X’s letter, her apology, personalising her name, leaving her husband, mothering Grayer, glad that he was wanting Annie a little less each day?

18.Popular anthropology, someone living in another culture and absorbing it, understanding and finding themselves? Hopes for a better world? The critique?

ATONEMENT

UK, 2007, 123 minutes, Colour.
James Mc Avoy, Keira Knightly, Romola Garai, Vanessa Redgrave, Benedict Cumberbatch, Harriet Walter, Gina Mc Kee.
Directed by Joe Wright.

Atonement is a particularly religious term. While it is not referred to as explicitly religious in this film, this is its implicit meaning. In fact, the screenplay also uses the term, penance.

Atonement is based on the novel by Booker Prize winner, Ian Mc Ewan. The screenplay has been written by playwright, Christopher Hampton, and retains the literary quality of the novel. It is worth seeing.

The film has three parts and builds up very well to a surprising ending. The first part is set in the English countryside in 1935. Echoes of the Merchant Ivory period films. Atonement also gives great attention to detail. We are in a narrow world of wealth on a country estate. But the focus is on 13 year old Briony who is seen finishing a play. She is a young girl of imagination, romantic imagination, excellently played by Saoirse Ronan. She watchs her older sister Cecilia (Keira Knightly) and her interactions with the son of the housekeeper, Robbie (James Mc Evoy). The audience watches the same scene from Cecilia’s and Robbie’s point of view and soon finds that Briony has misinterpreted what has happened. She does the same the same evening with disastrous consequences for Robbie and for Cecilia. It is her sin which needs confession and atonement.

The second part of the film is World War II action in 1940. This section is broad in scope, taking audiences well beyond the country estate. Robbie is a soldier lost in Northern France. Cecilia is a nurse. So also is Briony. The war setting gives occasion for a quite lavish and extraordinary recreation of the stranding of the soldiers at Dunkirk. It is a far more realistic picture than we have previously seen in war films. The scenes in London at the hospitals are also vividly portrayed.

Briony has the opportunity to acknowledge the hurt that she has done and takes the chance of visiting Cecilia and confessing. This is a powerful sequence as she accepts the responsibility while knowing that she might never be forgiven.

The final section is brief. Briony is being interviewed in the present on the publication of her novel, Atonement, which she says is an honest telling of what happened in her childhood and in her attempts to make atonement. She is played movingly by Vanessa Redgrave whose performance is principally in direct to screen close up.

This is a satisfying drama, especially for those who appreciate literary translations to screen. And it has some depth to the characters, the terrible realities of 'sin' and its consequences as well as the hopes for redemption.

1.The impact of the film: British period drama? Adaptation of a novel? Psychological drama?

2.The title, themes of sin, offence, repentance, expiation, atonement, forgiveness?

3.The structure: the three periods: 1935, 1940, the present world? Scenes seen from Briony’s point of view, seen from a different point of view and contradicting Briony’s perspective? Speculations, the reality? The war sequences? Doug Kirk? The score – and the incorporation of the typewriting into the music?

4.Briony’s story: Briony at thirteen, writing the play and completing it, marching through the house, the affirmation of her mother, the rehearsal with her cousins, their unwillingness, her being bossy? Living in a world of romantic fantasy? Her moods? Watching Ce and Robbie at the fountain, their behaviour, her interpretation? The audience seeing then what actually happened? Leon’s arrival, Paul Marshall, Robbie asking her to take the letter, reading it, telling Lola, the accusations against Robbie as a sex pervert, catching Robbie and Cecilia in the library, the audience getting the true version? The tension at the meal, the twins missing, the search? The atmosphere for Briony, in the caves, the light and dark, seeing Lola and Paul, her being upset, her telling her mother, the police? Confirming that the man was Robbie? Vindictive? His going to prison? The later flashback from Robbie’s perspective of her diving in the water, wanting him to save her, his anger with her? Her later telling the story herself?

5.Ce, older, the relationship with Robbie, uncertain, the years of study together? The upstairs/downstairs relationship? The scene with the vase and her going into the fountain, the letter and her reaction, humorous, the library? From Briony’s point of view, from Ce’s point of view? The meal, the search, her grief at Robbie going to jail? Writing, wanting to visit?

6.Robbie, the background, in the garden, his mother as the housekeeper, his father abandoning them, the family paying for the studies? His wanting to be a doctor? The vase, the fountain, writing the various drafts of the letter and the humour, the wrong letter being given to Briony? Ce and her understanding? The kiss in the library, his finding the twins and bringing them back, arrested?

7.The twins, their dissatisfaction, their parents’ divorce, Lola trying to keep control, be the adult? The rehearsals for the play – and getting away to swim? Paul’s arrival, the chocolates, talking with the children, with Lola? His talk about business, the army and the chocolates being in the kitbags, making money? His encounter with Lola, running away, not telling the truth? The scene of his marrying Lola and Briony being present? The words of the priest about any objections?

8.The glimpse of the mother, her migraines, her supporting Briony? The search, her manners, her being upset and believing Briony? Leon and his bringing Paul Marshall down?

9.The transition of four years, World War Two, the war in France, the three men wandering, the effect, hiding and the partisans bringing them food, walking, finding the dead schoolgirls, lost, smelling the sea, Robbie and his memories of Ce?

10.Arrival in Dunkirk, the vast nature of the set at the beach, the men’s walk through the beach, the crowds of soldiers, the thousands, the fire, the choir, the trick, the shooting of the horses, the ferris wheel, the bar, the dugout, Robbie crying in his sleep? The hope for rescue?

11.Robbie’s memories of Ce, her enlisting, her work, meeting him, their talk in the café, the bond between them, his chasing the bus, her letters and the postcard – and their being burnt after his death? Chasing the bus, his last view of Ce?

12.Ce and her work, leaving home, no contact with Briony? The scene of Briony’s visit, her confession? Robbie in the room, coming in, unable to accept Briony’s confession, unforgiving?

13.Briony at eighteen, being a nurse, the sister in charge, not wanting her to be too friendly with the soldiers? The visuals of the wounded soldiers coming to the hospital? Her being asked to comfort the Frenchman, his telling his stories about the holidays, her sympathy, the blood on her face? Her expiation by scrubbing and cleaning, slaving? Her acknowledging the truth? The discovery of Paul and Lola’s wedding, her being present? The decision to confess to Ce? Going to the house, her repentance, Robbie’s refusal, her leaving the house – and the audience seeing the two kiss upstairs?

14.Briony sixty years later, Vanessa Redgrave’s presence and performance? Dying, the television interview, telling the truth, wanting to make up for what she had done?

15.The final happy ending – and if only? Finding happiness in the literature and the fantasy? The deaths of Robbie and Ce?

16.The scope of the narrative, from a small world and small incidents, small sins, to a vast world of war and death?

REDACTED

(US, 2007, d. Brian De Palma)

After The Black Dahlia and such films as Femme Fatales, Redacted is not the film one would expect from Brian De Palma in 2007. It is a strong, even fierce, polemic against the American presence and behaviour in Iraq.

De Palma had made a film about the Vietnam War in the late 1980s, Casualties of War, with Michael J. fox and Sean Penn. He knows what he is talking about in terms of making war films. He has written and directed this one – even though it gives the impression that it is documentary with a variety of styles.
The styles include the video diary of one of the soldiers (and he wants to use it to get into film school when he gets back from Iraq). There is also a French documentary with French commentary about the checkpoints and what happens for the Iraqis as well as about the behaviour of the Americans. There are also some embedded journalists, interviews during action as well as reports on television. Then there are internet chat rooms where the soldiers speak with their family. There are also video clips on the web sites showing atrocities, even including the execution of one of the Americans. There is a final collage of graphic photos.

The film focuses on a small unit, the audience getting to know their personalities, their interactions, and their work. They are at a checkpoint, doing long, hot, boring sweaty work. They are under orders to let no cars through - but the point is made that many Iraqis can't read and so do not know what is required from the signs. There is a graphic incident where the Americans gun down a car trying to get through the checkpoint only to kill a pregnant woman.

The film has its basis on reports from actual atrocities in Vietnam. Particularly graphic is an unwarranted attack on a home and the abduction of the father of the family. Two of the soldiers then decide to return to rape his young daughter. They do so - and massacre the family.

The film presents images of the ugly American, in their language, referring to the Iraqis as sand niggers and wanting them to be blasted into oblivion. They feel under threat, do not have a wider picture of the situation there or in the Middle East, and have not been very well briefed before their tour in Iraq. They are full of attitudes of American supremacy, patriotism and the despising of the Iraqis.

The film is brief, packs a punch, will not be comfortable viewing for those who are in favour of the Iraq war. It will reinforce the presuppositions about those who are against the war. A companion narrative piece to Redacted would be Paul Haggis' in The Valley Of Elah - which has many overlaps in showing the behaviour of some American forces.

Nick Broomfield’s The Battle for Haditha takes a docudrama approach to the same events.

1.The situation of the Iraq war? Audience response to the war? For or against the film and its stances? A piece of visual polemic?

2.The title, the credits and the censoring, redacted as editing? Brian De Palma and his redaction of the war in Iraq?

3.The use of Jordan locations, for the city of Samarra? The visualising of the checkpoint, the terrain, the base for the soldiers, the Iraqi houses? Authentic atmosphere? The musical score – especially the repetition of the theme from Barry Lyndon?

4.The visual styles: the video and its use, and the scene of execution of the American? Television news reportage? The French documentary? The internet images, internet chat rooms? The interviews, the barracks, the final photos and the collage? An aesthetic style for protest, exposure, rhetoric, seeking of the truth? The influence on America and its allies?

5.Angel Salazar and his type, his hopes, doing the video diary, wanting to use it to get into film school? The diary, the dates and times? His interviewing his squad: Blix, McCoy?, Rush and Flake? His introduction to them, the talk, Blix and his reading John O’Hara?, the reading out of Somerset Maugham’s story, Appointment in Samarra? The others reading Hustler? The language? At the base, the drinking, cards, arguments? At work, the checkpoint, the mine blowing up, the sweat, death? The discipline and lack of discipline? The inspecting officer? Orders? The adequacy of the briefing before the Americans arrived in Iraq – and the expressions of their patriotism, bigotry?

6.The portrait of ordinary men, Flake and his being in prison, the poor, volunteering, the age getting lower for volunteers? Educated or not? The boredom, the heat, the heavy equipment, going to sleep on the post, surveillance, checking for mines? Carelessness?

7.The American invasion of Iraq, American security, Al Qaeda, the aftermath of September 11, issues of terrorism? Automatic suspicion? The use of Arabic and English? The Iraqis illiterate and not being able to read the checkpoint signs? The sense of American superiority, English being the only language, facing up to death, a spirit of vengeance?

8.Salazar, following Rush and Flake, the discussion over the cards, his decision, the attack and the taking of the father? The television news? The men and their return, having seen the girls go to school, Rash and his delay in searching the older girl? The plan, their felt need for sex, the rape, the shooting? McCoy? being ordered out to be on guard? Salazar going in, filming?

9.Salazar and the consequences, the nightmare, his responses in the interrogation? McCoy? and his blaming himself? Flake and Rush and their interviews, smug, arrogant, self-justifying?

10.The TV news, following the Americans into the house, asking questions, the interviews? The embedded journalists?

11.The internet images, for Iraq, against? The posting of the execution of Salazar? The communications, the chat rooms, McCoy’s? wife, McCoy? asking his father for moral decisions? The outburst of the vicious anti-American girl?

12.Work on the checkpoint, the search, the long days, the two girls walking to school, the shooting, the pregnant woman, going to hospital, her death, the brother thinking he was being waved through? Flake and the interview, not wanting to blame himself, mocking saying sorry?

13.The American soldiers and their attitude towards life, to the Iraqis, sand niggers, Hajis, Ali Babas? The children playing ball? No respect for life?

14.The film as antiwar, the stance that it took, the rhetoric, the fallibility of ordinary people, soldiers and officers, their limited experiences, biases, sense of superiority, letting off steam, the use of sex and drugs as outlets, blames?

15.The moral conscience of the film?

16.The final collage and the images?

17.Brian De Palma and his point of view, creating a fiction to give face to reality?

MICHAEL CLAYTON

US, 2007, 119 minutes, Colour.
George Clooney, Tom Wilkinson, Tilda Swinton, Sydney Pollack, Michael O’ Keefe.
Directed by Tony Gilroy.

This is a drama for those who really enjoy the novels, say, of John Grisham. It deals with lawyers, fixers, corrupt companies, class actions and deceit concerning products that damage human life. It is also a drama about family and the complex elements all come together with justice being finally done. It was written and directed by Tony Gilroy who was responsible for the story of The Bourne Ultimatum. Like this thriller, Michael Clayton also shows a great deal about surveillance, industrial espionage and the technology for destruction.

Michael Clayton, played with less glamour by George Clooney, is a 45 year old part success but seeming whole loser in his life and profession. He is an expert fixer for a legal firm and has the skill to come in, assess a situation and go into action. However, when an associate (Tom Wilkinson) has a breakdown, he finds that he is unable to help him. Part of the breakdown concerns his six years of being devoted to demolishing a class action against a powerful chemical company (represented by a rather sinister Tilda Swinton).

The opening of the film leads to some immediate interest and suspense and then the screenplay moves back to four days earlier to build up again and move through the legal crises, the deal crises as well as to spend some time on Michael Clayton's personal problems and those of his son and his brothers.

The film is dark, serious and thought provoking in that Grisham kind of way (which is a compliment) and has a strong supporting cast including Sidney Pollack as the head of the legal firm.

1.The blend of thriller, legal drama, environmental drama?

2.The New York settings, winter, the contrast with Wisconsin? The city, the countryside, the fields and the horses? Interiors: apartments, offices, police precincts? Authentic settings? The musical score?

3.The structure of the film: the introduction with Arthur and his voice-over ravings? Michael Clayton playing cards, phone call, going on the job, driving, something wrong with the car, the discussion with the driver and the hit-run, stopping with the horses, the explosion? Going back four days, Michael Clayton and his life, his work, the Fixer, the variety of problems, U- North and its dealings, Karen, Marty and Barry in the legal office? The pressures, the personal story, family? Helping Arthur? His death, the investigation? The climax? The solution?

4.The title, George Clooney and his style, not a glamorous performance? Karen and the data about him, the information, background, studies, the law, his jobs, the Fixer, marriage, the son? His loyalty to the firm? Love for his son? Support for Arthur? Helping his brothers?

5.Clayton as the Fixer, the opening with the hit-run driver, his wife’s outburst? The collage of him working at his desk, the phone calls, the legal points, the decisions? Going into action? The background issue of the company, the merger, his availability?

6.His playing cards, the gambling, the background of opening the bar, losing his money, his hopes for something after his Fixer work? Tim and his drinking, losing the money? Despair? The emotions, Tim turning up at the birthday party, talking in front of Henry? His help after the bomb? The home scene, the father’s birthday, the party, the relatives, Michael staying an hour, talking with his brother, the favour, the search of Arthur’s room? The difficulties with the police chief? His helping his brother at the end with the arrest?

7.Arthur, the voice-over and the ravings, the performance in front of the video, people’s puzzle about him? Michael going to rescue him? The hotel, Arthur’s escape? His working on the case for six years, his legal genius, the oppression of the six years, his changing his mind, the documentation and his printing it in the cover of Henry’s book? Going off his medication? The effect? In New York, buying the bread, arranging for Anna to come from Wisconsin? His character, his decisions? The pathos of the murder?

8.The portrait of the company, Don Jeffries, Karen, her rehearsing in front of the mirror, the actual delivering of the speech, answering all the questions? Her promotion? Watching the video, orders to her staff? Meeting Clayton, underestimating him? Her fear of exposure, the phone call and the codes, her lack of conscience, the orders for the murder? The final meeting, Clayton confronting her, taping her?

9.The thugs, their capacities for surveillance, tapping the phones, the break into Arthur’s apartment, murdering him? Finding Michael Clayton, going to the hotel for Anna, going to Arthur’s apartment? The ability to kill and cover up? Planting the bomb, the bad timing?

10.Marty, CEO of the legal firm, busy, the deals and the merger, the client relationship with U-North? His worry about Arthur, getting his documents? Michael and the loan? Barry and the conditions? Their grief at Arthur’s death and their reaction?

11.Michael, seeing him at cards again, having paid the debts? Playing but leaving?

12.His exasperation after the hit-run driver, the side road, the horses, the bomb going off, putting his watch and documents in the car? Suddenly appearing, confronting Karen, tricking Karen, the end and handing over the information to the police and his brother?

13.The use of the close-up during the ending, to ponder the issues of identity, career, loyalties, truth and justice?

SLEUTH

UK, 2007, 87 minutes, Colour.
Michael Caine, Jude Law.
Directed by Kenneth Branagh

Sleuth is a remake of Anthony Shaffer's play, Sleuth, and the film version directed by Joseph L Mankiewicz in 1972 with Laurence Olivier and Michael Caine. Michael Caine now takes on the Olivier role.

The film has been rewritten for the screen by playwright, Harold Pinter, using the basis of Anthony Shaffer's play, but introducing the dialogue so typical of Pinter himself and his plays like The Birthday Party, The Caretaker... But, whether it works well on screen rather than on stage? And how does Caine compare with Olivier and Law with Caine?

The film is set in a rather lavish modernistic mansion with very few scenes outside the house. The film focuses on a popular novel writer who is visited by a part-time actor who wants to persuade him to give his wife a divorce because the actor is living with her. The actor then plays a psychological and physical game with the visitor. In the second part of the film, the visitor assumes the disguise of a police inspector, and turns the tables on the novelist.

The film is interesting verbally, for its performances, for its sleight of hand with the performance by the actor. It has a rather sudden ending - something of a shock to the system.

Branagh has directed the thriller and mystery, Dead Again. He has followed in Laurence Olivier's footsteps by directing versions of Henry V, Hamlet, and performing as Iago in a screen version of Othello. He also directed versions of Much Ado About Nothing, Loves Labours Lost and As You Like It.

1.The background of the play and its success, the original film? The quality of a remake?

2.The plot opened out? The new Pinter dialogue? The basis in Anthony Schaffer’s play? Some glimpses of cars and the outside?

3.The film as a two-hander, the quality of the performance of the two actors – and the scene of disguise?

4.The use of the camera, surveillance cameras within the house, editing ordinary shots, overhead shots, the scenes on the camera screens? The emphasis on technology? The sleight of hand with the disguise? With the use of the cameras?

5.The plausibility of the plot, the mind of the author, the divorce issue, jealousy, the ordinary man, his reaction, violence and vengeance?

6.Playing psychological games, verbal wit, psychological sparring? The physical aspects of the games?

7.Andrew Wyke and his vanity, his elaborate house, the modern style, artwork, the lift, the design by his wife? His books, the advertisements? His reputation and vanity? His wife leaving him, married for twelve years? His attitude? Pretending not to know Milo, mocking his name, the Italian background, Hungarian, reference to him as a hairdresser? Inviting him in, the drinks? The psychological jousting? The explanation of the plan, the robbery? Inviting Milo to trust him? The execution of the plot, like directing it, the outside ladder, the roof, Milo and his falling, the pretending to be the other in order to find the safe combination, the jewels, the shooting?

8.Milo, smug, arrival, simple expectations, response to Wyke, his being mocked, the issue of the wife loving him, the invitation to trust, going into action for the robbery, the jewels, no letter for the fence in Amsterdam, pretending to be Andrew in the discussion about the safe, his fear, being shot?

9.The policeman’s arriving, his style, appearance, talk, talking of Andrew’s reputation, references to Milo, the wife, the confrontation and the revelation?

10.Wyke’s reaction, the further games, Milo with the gun, pressure, putting the jewels on Andrew? The comment about whether they suited? The shooting?

11.Andrew and his seductive language, the promises, wanting Milo to move in, the room, all the offers?

12.The phone calls from the wife, the discussions? Her backing Milo?

13.Andrew and his overpowering Milo, killing him?

14.The impact on the audience, the experience of clever writing, tricky plotting? The suddenness and seriousness of the ending?

DEATH SENTENCE

US, 2007, 103 minutes, Colour.
Kevin Bacon, Garrett Hedlund, Kelly Preston, Aisha Tyler, John Goodman.
Directed by James Wan.

In the 1970s Brian Garfield wrote the confronting novel, Death Wish. It was filmed in 1974 with Charles Bronson and raised controversies about vigilanteism, taking the law into one’s own hands when justice seems to be inadequate or ineffectual. It raised questions about the effect of this kind of brutality by ordinary citizens on themselves and their families. There were three sequels.

Based on Garfield novels, Death Sentence is this theme revisited for the 21st century. Not that it has not been filmed often enough already. This time is made by James Wan from Australia who directed the box-office success, Saw. He also directed Dead Silence. He directs this film with flash and flair, especially raising tension and providing a breathless chase. He is served well by having Kevin Bacon as the central character whose life is changed by a ruthless and cold-blooded murder and decides to take action himself. He does not consider the repercussions as he initiates a gang war between some thugs and himself which has devastating results for himself and his family.

For about three quarters of the film, one can appreciate the emotional and conscience dilemmas for a businessman who is told that his son’s murderer will get a deal which will have him back on the streets quite quickly. The aggressive emotion is well staged. The horror of his revenge sinks home. Then the violence consequences make the audience realise that it is not simply a matter of justice equations to make up for injustice. So far, so good but controversial and challenging.

And, then, of course, Death Sentence goes for vigilante broke and the makers go for exploitation treatment rather than the more serious approach they had begun with. Which means that we leave the cinema focussed on the final bloodbath rather than the issues initially raised.

1.The background of Death Wish, the novel in the 70s, the novels and the films, American cities and gangs, vigilante action, ineffectual justice? The effect of vigilante action on the perpetrator?

2.The adaptation to the 21st century, the dismal picture of American cities, the world of the gangs, initiation by murder, instilling terror, the role of the police, lawyers, doing deals?

3.The visuals of the city, ugly, the homes, offices, the courts, warehouses, car parks, the streets, the slums? The musical score? For atmosphere?

4.The styles of the camerawork, the different gradings of the colour for the different worlds of Nick and of the gangs? The contrasts? The dark world? Action and pace? The editing of the chase sequence? The special effects?

5.The title, as relating to the criminals, as to Nick, and his family getting a death sentence?

6.The build-up, the home videos, the opening credits, the sketch of the family, their bonds, Brendan and his skill at hockey, Lucas and his not being favoured, the younger brother? The meals, the clash between the two brothers, yet the affection? The mother coping, her love for her husband? Hopes and a future?

7.The hockey game, Nick and his applause? The phone call, driving home, running out of petrol, passing the car with no lights, the return of the car, the gang and their brutality, shooting the shopkeeper, the dare and slitting Brendan’s throat? Nick and his grief, taking his son to the hospital, his death, the sadness of the funeral?

8.Dealing with the police, the lawyer, lack of evidence except his witness, the deal, the court, the judge, the killer mocking Nick, his making his decision, not testifying, following the perpetrator, seeing the gang, going to the apartments, seen by the girlfriend, the fight with the killer, stabbing him? The effect on Nick, his hand cut, bleeding, Lucas and home, going to have the shower, his wife’s consolation? His inability to tell them the truth?

9.Nick at work, his hand and its bleeding? The assistant and his help? The discussions about chaos theory, equations? The police officer, noting the hand?

10.The drama of the chase, identifying with Nick, the gang and their meeting, the restaurant, toasting the dead man, going into the streets, attacking Nick, the shooting, running across the street, down the lanes, through the kitchen, into the car park, Nick shrewd and getting the alarms going off, the confrontation with the gangster in the car, it backing, his jumping off, its crashing?

11.Throwing away his case, the gang getting his wallet, his identity, his family? The phone call? The threats, going to the police, the officer coming to the house, her warning, the surveillance of the house, killing the watching cops, entering into the house, the brutality, shooting the family?

12.The film to this point, the emotions, the reasons for vigilante action, anger? Illustrating the consequences, the change in Nick?

13.His awaking, going to see his son, going to buy the guns, shaving his head, at home, visiting the dealer, the dealer’s background, seeing him with his sons and his despising of them, selling the guns?

14.The father going to see his son, his son killing him?

15.The final confrontation, the violence, the shootout? Billy and Nick, made equal by their brutality? The equation? Nick shooting him?

16.Going home, the news that his son would life? The change in Nick, his future? The impact of this vigilante action on the audience – those who would take sides with the gang, those who would take sides with Nick?

NO RESERVATIONS

US, 2007, 105 minutes, Colour.
Catherine Zeta- Jones, Aaron Eckhart, Abigail Breslin, Patricia Clarkson, Jenny Wade, Bob Balaban, Brian F. O’ Byrne.
Directed by Scott Hicks.

If you would like a pleasing night out at the cinema, No Reservations would fit the bill for an undemanding romantic comedy with an attractive cast.

Catherine Zeta Jones has been a headliner for many years both for her marriage to Michael Douglas and for her performances in her Oscar-winning performance in Chicago. Her role in No Reservations should gain her some more fans. It is a much more ordinary role, less flashy than usual and she acquits herself very well.

Some may have seen the German film, Mostly Martha, about five years ago. It was a story of a highly qualified, perfectionist chef at a fashionable restaurant. When her sister is killed in a car accident, as nearest of kin, she is asked to take custody of her young niece. Meanwhile, back at the restaurant, the manager takes on an assistant chef whose kitchen style is exactly her opposite, cheerful, singing, laughing and irking his boss.

No Reservations is Mostly Martha transferred to lower Manhattan, keeping the central characters and the crises as well as the romance.

Not being a connoisseur of kitchens, food preparation and cooking, I forgot to say that for most audiences, one of the main attractions will be the food – and more food (often in close-up). The film opens with a voiceover receipe for quail and truffles.

The chef this time is called Kate. Kate rules the kitchen and its large staff with absolute precision. She commands loyalty but she allows no leeway for sentiment – nor for complaining customers who are on the receiving end of cool tantrums . It should be mentioned that her boss, alert to her obsessiveness, has asked Kate to go to therapy. She even brings food for the therapist to eat during the sessions.

Catherine Zeta Jones is able to portray convincingly the unbending regime in the kitchen, at the market and in her own life. This has not prepared her at all for looking after a nine year old little girl. Zoe, the bereaved niece, is played by Abigail Breslin who received an Oscar nomination for Little Miss Sunshine. She is a strong child actress and is also believable, relying on acting skills rather than simply being cute.

Aaron Eckhart portrays Nick, the alternative style chef. He sings opera, makes jokes and his good nature is infectious – except for Kate who is appalled at his behaviour. But, it is he who is able to make a breakthrough with Zoe – and, eventually, with Kate. And, a lot of this has to do with even more food and cooking.

The writers and director are obviously on the side of the humane, relaxed and happy way of life rather than the obsessive workaholic and uptight approach. Nick does not really have to change – except to be prepared to take on more responsibilities. It is Kate who has to mellow and realise that there is more to life than control and work achievement. And this, in a busy, busy world, is not a bad lesson, all served up, garnished with comedy and romance.

1.A popular entertainment? The human touch? Relationships? Change?

2.The focus on food, recipes, the kitchens, the restaurant, food preparation, cooking, serving? Vicarious pleasure for audiences?

3.The New York settings, Lower Manhattan, the restaurant, the kitchen, apartments, the streets, school? Authentic? The cemetery? The musical score, the range of popular songs as background, the opera excerpts?

4.The title, the adaptation of Mostly Martha, the transfer from Germany to American equivalents?

5.The introduction to Kate, in therapy, talking of the recipe to her therapist, Paula sending her to the therapist, her not knowing why she was there? Talking, cooking for him, his eating it during the sessions? The kitchen staff, the customers and her tantrum? In the kitchen and her control, the range of staff, her precision, detail, perfectionism? Inability to relate effectively with the staff?

6.Christine and Zoe, the phone call, the joy, the visit? The phone call in the kitchen, Kate hearing the news, going to the hospital, Zoe injured, Christine dead? Having to tell the truth to Zoe? Visiting her, going into the fridge and reading Christine’s letters, entrusting Zoe to her care? Taking her home, awkward, the room and unpacking, providing adult food and Zoe not wanting it, going to her room? Taking Zoe to school, meeting the principal? The search for the scarf? Zoe going through the photo albums, her grief? Getting the babysitter for Zoe, the odd-looking girl, the nose ring, her science degree? Taking Zoe to the restaurant, Nick giving her the spaghetti, helping to break through, talking? Zoe being tired, sleeping in class, the advice of the principal? Kate leaving her at school when Leah gave birth? Zoe upset and blaming her? Kate giving Zoe a wish, keeping it till later, the day with Nick? The outing, Nick doing the cooking, the pizza and the tent? Zoe being upset, going to the cemetery? Not wanting to forget her mother? The happy ending in the bistro?

7.Kate, her precision, control, decision-making, going to the markets early, the recipes, cooking, the detail? The grief at her sister’s death? Her not knowing children? Discussing all this with the therapist, his advice? Discovering Nick, the clash, the music, the joking? Having to tolerate him? The argument with Paula? Wanting to get rid of him – having to ask him to stay? Upset with the attention he got from Paula, the customers? The food and her not eating, doing puzzles at the table, his forcing her to eat? Her gratitude to him for bringing Zoe out of herself? The happy day together? The tent, the food? His going home? The sexual relationship? Her thawing? Her upset at his getting the job, going behind her back? The back? Zoe missing, getting him to help search? The return? The happy ending in the bistro?

8.Paula, running the restaurant, the clients, getting Kate to go to therapy? Decisive? Getting Nick? With the staff? The range of the staff, their personalities? Their work? Leah, pregnant, friendly, the discussion and having the baby as they were buying the truffles? The lunches and Nick’s cheerfulness, Italian recipes? Rehearsing their talk for the clients?

9.Nick, outgoing, living in the present, relational, indecisive – running late? Singing the opera, making the jokes, enjoying the food, the story of his leaving school, going to Europe, his Italian girlfriend, the father teaching him? Friendship with Paula? Taking the job to cook with Kate? The spaghetti, his grandma’s recipe, helping Zoe, eating, talking? Kate grateful? Going out, the happy day? Not going behind her back – the phone call to say he hadn’t taken the job? Her challenge for him to take responsibility? Helping in the search for Zoe?

10.Sean, downstairs, attracted to Kate, helping out, his kids? Seen at the end in the bistro?

11.The principal, the discussion about Zoe tired, the possibilities of social care?

12.A happy film, despite the experience of grief? Strong characters? The film-maker’s presuppositions about the humane and happy life rather than control and busyness?

INVENTING THE ABBOTTS

US, 1997, 110 minutes, Colour.
Liv Tyler, Joaquin Phoenix, Billy Crudup, Jennifer Connelly, Joanna Going, Barbara Williams, Will Patton, Kathy Baker, Alessandro Nivola.
Directed by Pat O’ Connor.

Inventing the Abbotts is a story from the 1950s, the stories that were popular at the time and formed the grounds for soap opera. This film is more of a drama, exploring the characters and interrelationships.

The Holt family has had difficult dealings with the Abbott family. Helen Holt was widowed when her two sons were very young. Helen Holt is played by Kathy Baker in a moving performance. Her two sons are played by Billy Cradup and Joaquin Phoenix. Billy Cradup is Jacey, the older boy, who has a resentment towards the Abbotts thinking that Lloyd Abbott had had an affair with his mother. This proves not to be true at all. Doug Holt, who has a voice-over (by Michael Keaton) is the younger and more reflective son, also fascinated by the Abbotts.

Will Patton is very good as Lloyd Abbott and Liv Tyler, Jennifer Connelly and Joanna Going are his daughters. Eleanor is the rebel. Alice is the conventional daughter who marries (Alessandro Nivola) and has a child but wants a divorce but stays with her husband for appearance’s sake. Liv Tyler portrays the youngest daughter, middle of the road as she describes herself, who is in love with Doug.

It takes quite some time, with some detailed observation of life in the Illinois town and the interrelationships for there to come some kind of resolution.

The film was directed by Pat O’ Connor, an Irish director who made an impact in the 1980s with Cal. His other films include A Month in the Country, The January Man, Stars and Bars, Circle of Friends, Dancing at Lughnasa.

1.A film of memoirs? Of youth, love, bitterness? A portrait of American society in the mid-50s?

2.The re-creation of the period, costumes, décor, styles, cars? The songs from the late 50s?

3.The title, Jacey and his inventing the Abbotts, not seeing them for who they were? The voice-over and Doug’s comments about the Abbotts? Following through in terms of bets, their father’s death, the non-affair, Jacey’s resentment, seductions, Doug and his love for Pam?

4.Doug as the centre of the story? Joaquin Phoenix’s performance? Michael Keaton’s voice-over? His comments on Jacey, the same family, feeling alienated? His mother’s later comments about her attention to him and not giving enough attention to Jacey? The revelations about their father, the bet, the car, going on the ice, drowning, losing the patent for the car? The impact of his death? Helen and her love for her husband? Her being a teacher? Her love for her son, the lies around the town? Lloyd and his daughters? Doug and his observations of the three girls? His attitude towards Pam, ambiguous? Talking, at the dances? Her being careful in her response? The clashes with Jacey, the punching and fighting? At home? Doug at school, his going to the party, his punching the boyfriend? Talking with his mother? The table tennis with Jacey to let off steam? Jacey and Eleanor, his catching them? Watching Alice? The issue of going to college, his graduation? Jacey and his spurning of him? Not wanting him hanging on to his coattails? Doug’s own personal achievement? The various encounters with Pam, fixing her car, at college, explaining his set design to her? His mother’s death, meeting Eleanor at the airport? Jacey and the truth about their mother, the non-affair? Jacey and his going away? Pam and Jacey, her drinking, his sense of betrayal? Sending the message of love through Eleanor? His meeting with Lloyd, the final discussions? Marrying Pam – the family and the happy ending?

5.Jacey, the chip on his shoulder, the older brother, his antagonism towards the Abbotts, especially towards Lloyd? His attitude towards the girls, the sexual relationship with Eleanor? The clashes with Doug? Telling Doug about his mother and the story of the affair? Alice and the seduction, the confrontation with Lloyd? Pam intervening and reporting? His confronting Lloyd? His studies, seducing girls, at home, work, the fights with Doug? The seduction of Pam? His mother’s death?

6.The portrait of Helen Holt, a good woman, tolerant, trying to deal with her sons, hurt by the talk, the confrontation with Joan? The friendship with Lloyd and the discussions at the graduation? Her talking strongly to Jacey? Letting him go? Confiding in Doug? Her work as a teacher, the classroom, her collapse? Her death?

7.Pam as the third Abbott girl, not wanting to be an Abbott? Her friendship with Doug, at the dance, when he punched the young man? Talking with him, fond of him, resisting him? The car breakdown? The shop? Going to college, away? Encountering Doug again? Drinking, the episode with Jacey? The end?

8.Eleanor, the rebel, the relationship with Jacey, the sex, her scoffing at her father? Provocative? Being sent away to an institution? Training to be a stewardess – the scene at the airport with Doug?

9.Alice, pregnant, marrying, the big party, her husband, the baby, wanting a divorce, flirting with Jacey, going to the river, at home? Pam saving Alice’s reputation with her father – but yet telling her father and her father confronting Jacey? Her refusal to leave with him?

10.Lloyd, his life, wealth, moving into a rich family, protective of his status? Tough with his girls? The loveless marriage? Confrontations with Jacey, with Doug? Friendship with Helen, his declaration of admiration for her? Joan and the vicious attack – and the rumours in the town?

11.The details of town life, daily life, homes, mansions, social, cars, school, college, theatre workshops?

12.The moral atmosphere of the film and its stances, values of love, bitterness, trues and lies?