HUDSON HAWK
 
US, 1991, 100 minutes, Colour.
Bruce Willis, Danny Aiello, Andie Mc Dowell, James Coburn, Richard E. Grant, Sandra Bernhardt, Donald Burton, Don Harvey, David Caruso.
Directed by Michael Lehman.
 
Hudson Hawk received very negative criticisms when it was first released in the early 90s.  Since Bruce Willis had a hand in the story, it was considered a vanity production for him and it had a bad effect at the time on his career. 
 
However, soon afterwards, and with many fans, it took on something of a cult status.  It is a madcap caper comedy, set in both the US and in Italy and the Vatican.  It has a prologue with Leonardo da Vinci and his inventions, which leads to robberies of various da Vinci productions and a millionaire mad couple (Richard E. Grant and Sandra Bernhardt acting over the top) wanting to control the various pieces of a puzzle so that they can create gold.
 
Bruce Willis is an ex-con, an expert cat burglar who is tricked into working first of all for the Mob, then for the Mayflowers.  His partner is Danny Aiello.  Together they have a capacity for remembering songs, who sang them, and the running time – which they use, with Would You Like to Swing on a Star and Side by Side, singing them for the exact timing of their robberies.  Andie Mc Dowell is a mysterious woman from the Vatican, who turns out to be a nun, working on industrial espionage.  James Coburn is the head of a CIA group who all have nicknames like Snickers and Kit Kat.
 
The film is humorous, zany – and, if people are in the mood, an entertaining oddity.  It was directed by Michael Lehman who made a big impact with Heathers in the 1980s but, after Hudson Hawk, made a few features but had a flourishing career in directing television episodes.
 
1.            An entertaining crime extravaganza? 

2.            The negative criticisms at the time?  Reaction to the expense, the vanity production?  Justified criticism or not? 

3.            The American and Italian settings?  Sing Sing, New York City, action sequences, the bars?  Italy and the Vatican, the museums, the castles?  Musical score?

4.            The songs, the information about the songs, singers and play time?  The use of Swinging on a Star, Side by Side? 

5.            The prologue, Italy, Italian, Leonardo da Vinci, his inventions?  The discovery of gold?  The auction of the horse in New York?  The stealing of the Codex in the Vatican?  The cubes, the invention of gold, alchemy?  Leonardo’s other inventions and sketches? 

6.            The plot and complications?  Hawk and his getting out of jail, teaming up with Tony again, the Mario brothers and their forcing him to the robbery?  The Mayflowers and their eccentricity, plans, their British butler and his sinister behaviour?  The Vatican connections, the CIA group?  Betrayals? 

7.            Bruce Willis as Hudson Hawk, getting out of prison, having been put there by George Kaplan?  The reasons?  Leaving, imprisoning the guard?  Tony, the fall?  The cappuccino?  The new job?  Going to the bar?  Discussions with Tony, with the Mafiosi, the threats? 

8.            The rehearsals for the robbery, the songs, the drops?  Getting into the museum, the monitors, fixing them?  The exit, the success, the fake horse?  The CIA recording the caper?
 
9.            The Mayflowers, an eccentric couple, their behaviour, the over-the-top performance?  Rich?  The wanting power, money?  Their behaviour, Alfred as the butler, their henchmen?  The plan? 

10.         The CIA group, their names, Kit Kat?  The blond Butterfinger and his awkwardness?  Almond Joy and her strong personality?  The various personalities, Kit Kat and his not speaking but having cards?  The leadership of George Kaplan?  Interactions with Hawk?  Their work, in Rome, their kidnapping Eddie and boxing him to Italy? 

11.         Anna, at the auction, talking with Hawk, the attraction?  Verifying the horse?  The explosion in the auction room, Hawk saving her?  Meeting her in the Vatican, the tour guide?  The test of the security?  Their discussions, her flirting?  Going to confession, the cardinal, her job, espionage?  Being revealed as a nun?  The continued task, her reports?

12.         The robbing of the Codex, trapping the guard, the escape? 

13.         The various groups and their encounters, tricks, betrayal?  The Mayflowers and their zany reactions? 

14.         The robbing of the Louvre – but Hudson Hawk knocked out? 

15.         Putting the pieces together, the attempts to know what was going on, the various pieces of information? 

16.         'Side by Side'?  In the Vatican?

17.         The culmination, the fights, the various deaths?  Tony going over the side?  The CIA fights?  Anna, Hawk, reunited, being together, Tony reappearing? 

18.         A happy ending – with Hawk sabotaging the alchemy machine and destroying the enemies – and living happily ever after?

ALASKA
 
US, 1996, 105 minutes, Colour.
Thora Birch, Vincent Kartheiser, Dirk Benedict, Charlton Heston, Duncan Fraser, Gordon Tootoosis.
Directed by Fraser Heston.
 
Alaska is a film designed for a family audience.  It has beautiful landscapes (actually filmed in British Columbia).  It is a story of children, it is a story of a pilot who gets lost in a storm, it is a story of the children undergoing all kinds of difficulties on a journey to rescue him.  The children are played by Thora Birsh and Vincent Kartheiser. 
 
They encounter a poaching villain, Charlton Heston, father of the director.  He poaches polar bears and is in a plot with a pilot to sell a bear to a zoo.  However, the children let the bear go free – and it follows them.  It also helps, finally, in the rescue of the father.
 
The visuals are beautiful, and it is a film that will satisfy a general family audience – rather than critics.
 
1.            An enjoyable film?  For family audiences?  Adults?  Children? 

2.            The locations for Alaska, the mountains and snow, the valleys, the rivers, the rapids?  The musical score?  The general name and the evocation of the atmosphere of Alaska? 

3.            A family film, the father and the death of his wife, his work as a pilot?  The clashes with his son, his son’s resentment about the death of his mother, the son insulting his father?  The daughter and her love for her father?  His going on the trip, going out of contact, the storm, crashing the plane, perched on the ledge?  His survival?  The plane slipping down the mountainside?  His hanging on?  The flares? 

4.            The two children, seeing them in action, fishing, the rapids?  Their clashes with each other, brother and sister squabbles?  Their relationship with their father?  Sean and his anxiety at his father’s disappearance?  His decision to go to find his father, packing up?  Jessie, younger, her common sense?  Their going off together?  In the canoe, going through the rapids?  The encounter with the polar bear, freeing him?  Perry and his finding them, smooth talk?  Their continuing on, the more difficult rapids, going over the waterfall?  Their continuing by foot?  The help from the local Indians?  Their finding their father, the rescue, the rope, climbing?  The bear helping them?  Happily reunited? 

5.            Perry, Charlton Heston’s presence?  With the pilot?  Looking for the bears?  Taking the cub?  Its escape?  The clashes between the two men?  The searcher and their telling him lies about the children, breaking the oar?  The final encounter, the reaction of the bear?  Their being caught? 

6.            The background of the Indians in Alaska, at the stores, the air service?  The search?  The Indians and their camp?  Helping the children – and the elder and his stressing the importance of their going on a significant journey for young people? 

7.            Familiar ingredients – but pleasingly done for a wide audience? 

ZEUS AND ROXANNE

US, 1997, 98 minutes, Colour.
Steve Gutenberg, Kathleen Quinlan, Arnold Vosloo, Dawn Mc Millan, Miko Hughes.
Directed by George Miller.

Zeus is a rather odd-looking dog. Roxanne is a dolphin who had been in captivity but was being let loose in the ocean. They make an interesting combination – especially as the screenplay posits that they can communicate with each other.

This is a very light film for family audiences and children who enjoy films about dogs as well as films about dolphins. Steve Gutenberg (the Police Academy films, Three Men and a Baby and other comedies) is a composer, a widower, staying at the coast with his son, played by Miko Hughes. Next door is a marine biologist, played by Kathleen Quinlan, with two daughters.

The film is fairly straightforward – the dog interferes with the next-door-neighbours, chasing their cat and wreaking havoc. However, Zeus also follows the marine biologist and her assistant onto their boat and communicates with the dolphin. The marine biology team are clashing with the head of the organisation, played by Arnold Vosloo (who was to be the villain in the first two Mummy films).

The son and the daughters become friends, try to manipulate an arrangement between their parents – resisted at first by the parents. However, there are various difficulties, especially with the head of the organisation trying to get rid of Zeus and also to control Roxanne while doing his own research on sharks.

There is some slapstick comedy. There is some romance. And there are plenty of close-up shots of dog and dolphin.

The film was directed by George Miller, Scottish-born but working in Australian television during the 1970s and 80s, who made a breakthrough in film direction with The Man from Snowy River. He then went to the United States and directed many television films.

1. The title? A dog and a dolphin? Their behaviour, communication – credible or not?

2. Audiences who love films about dogs, about dolphins? Satisfying?

3. The coast, the beach, the ocean? The atmosphere of the sea, marine biologists and their work?

4. Terry and Jordan? With Zeus? Terri trying to compose his rock opera? Jordan and his age? Zeus and the chasing of the cat? The introduction to the Dunhill family? Terry and his awkwardness, trying to replant the flowers?

5. Mary Beth, her daughters? Her work, her assistant? The clashes with Claude? Claude and his wanting to control their work? His sinister attitudes? His two assistants and their wariness of him?

6. Mary Beth, antagonism towards Zeus, seeing him communicate with Roxanne? Getting an agreement that she be able to do further tests with Roxanne?

7. The children, their playing together, becoming friends? The parents and their disciplining of their children? The girls skateboarding? Their playing cards and Jordan winning? The plan for their parents?

8. Terry and Mary Beth, going out, talking, sharing? Falling in love? Not wanting to be manipulated by the children?

9. The crises with Zeus, Claude trying to get rid of him? The difficulties with Roxanne, the nets under the water? Her being injured? Mary Beth and her taking Jordan in the submarine? Claude explaining the submarine to her – in the hopes of cashing in on her application for a grant?

10. The final crises, the rescue of Zeus? The rescue of Roxanne? The happy ending – and the wedding, with the information about the grant arriving in the middle of the wedding?

11. An entertaining film for a family, for the children, for adults who enjoy animal films?

HOLY MAN

US, 1998, 114 minutes, Colour.
Eddie Murphy, Jeff Goldblum, Kelly Preston, Robert Loggia, John Cryer, Eric Mc Cormack.
Cameos by: Morgan Fairchild, Betty White, Florence Henderson, Soupy Sales, James Brown.
Directed by Stephen Herek.

1. Title, expectations, tone? The portrait of a good man, in himself, his journey for enlightenment? The religious background? American style?

2. The shopping channels, the studios for these channels, offices, the technical background, producers, management? The critique of the shopping channels – ethos, advertising, personalities? Profit motives?

3. Heightened reality for satire, parody? The advertisements with actual stars guesting?

4. The attitude towards money, Mc Bainbridge and his tough attitude, exploiting people? The exploitation of customers? Getting them to feel with the advertisement, feeling needs they never knew they had – and didn’t need? Examples of the buying, the necklace, the grass mats…?

5. Ricky and his life, working with Mc Bainbridge, his ambitions? Working with Barry as his assistant and adviser? The lack of success, falling ratings? Encountering Kate, her looking down on him? Mc Bainbridge, the threats, the targets? With Kate, in the car, the flat tyre, G. and his offer to help? Kate and her response? Their reversing over him, taking him to the hospital, Ricky paying the expenses? Kate wanting to take him in, Ricky taking him to his apartment, G. sleeping on the floor, the joke about the Orangeade in the morning?

6. Eddie Murphy as G., cheerful, philosophising, his clothes, on his journey, the walk, kissing the ground, wanting enlightenment? His way of speaking, seeing others’ goodness? Patient, humour? The religious motif – as explained by the various commentators from Christianity, Judaism and Islam?

7. G. at the studio, observing, making comments? His response to the staff? going on air, his comments, the effect? His sincerity? Explanations, results? His following? His enjoying the advertising? McBainbridge? wanting a contract and G's own show?

8. Scott, his plans for the network, image? His manner of speaking, clashes with Kate? His being upset with G? The scandal, the woman coming to claim that G. was her husband and the father of the children? G. going to meet her, the press conference? The woman breaking down? Telling the truth, Scott engineering the scandal?

9. Audience reactions to G., the media response to him?

10. Kate, her work, ambitions, wanting to use decent principles? Working with Mc Bainbridge, growing differences? With Ricky, getting to know him, helping with the targets? Her response to G? Her work, falling in love with Ricky, concern about G., wanting him to be let go?

11. Ricky and success, G. telling people to embrace and affirm Ricky? Kate and Mc Bainbridge and the pressures, the show, Ricky and the threats from Mc Bainbridge, the contract? Katie and her urging him to let G. go? Talking with G., Barry and the fake phone call from the doctor? Warning G. against the contract, urging him to go?

12. Kate, her walking out, watching Ricky on television? Hurrying back?

13. Mc Bainbridge, greed, reactions, anger, coming into the show while Ricky was talking, unable to intervene?

14. Barry, assistant, advice, not wanting to go on air, the phone call as the fake doctor, Ricky and the charades to give him the message to give to G?

15. The camera operators, watching, helping, highlighting the products?

16. G. going, the audience response, Ricky and his speech, being genuine, Kate coming back?

17. G. giving Kate and Ricky his blessing and going on his way?

NEVER SO FEW

US, 1959, 125 minutes, Colour.
Frank Sinatra, Gina Lollobrigida, Peter Lawford, Steve Mc Queen, Richard Johnson, Paul Henreid, Bryan Donlevy, Dean Jones, Charles Bronson, Philip Ahn, Robert Bray.
Directed by John Sturges.

Never So Few is a lavish war drama, setting is Burma. It has a very strong cast led by Frank Sinatra and was directed by John Sturges who was about to make The Magnificent Seven as well as to go on to The Great Escape and The Eagle Has Landed.

While the film is long, beautifully photographed and capitalising on the Burmese landscapes, the film has little action comparatively speaking. There is a long focus on a romance between Frank Sinatra and Gina Lollobrigida.

Sinatra has a rather embittered role as an OSS leader. There is a moral issue at the end when, after the Chinese cross the border into Burma and murder and loot American troops, Sinatra orders the execution of prisoners and then has to give an account to the American authorities. This film was made five years before the Americans became really involved in Vietnam and had to face similar issues.

The supporting cast is strong. Peter Lawford has a better role than in many of his Rat Pack films. Steve Mc Queen was at the beginning of his career and was about to appear in The Magnificent Seven – as was Charles Bronson who had been a character actor for many years. This is also an early film for Richard Johnson who was to have a long career in film and on stage in Britain. Paul Henreid, in a role reminiscent of his performance in Casablanca, is a mysterious wealthy man in Burma who trades with the Chinese.

The film will seem rather slow in terms of contemporary war films – but is an American perspective on World War Two, fourteen years after the end of the war, with a particular focus on the experience in Burma.

1. A 1950s war film? The role of the Americans in World War Two? In Asia? Allies with Burmese tribal people? The Chinese? Against the Japanese?

2. The widescreen colour photography, location photography, atmosphere of Burma, the countryside, the temples? The affluent world of the wealthy traders? The headquarters and the cities? The contrast with out in the mountains, the war sequences? Musical score?

3. The title, the reference to the Americans working with the Kachin natives?

4. Tom Reynolds and his men, Frank Sinatra in this role? As a leader? His reliance on Bill Ringa? His friendship with Danny de Mortimer? His working with the troops, personnel, in control? Difficult people like Danforth and Norby?

5. Going to Nikko Ragas’ house? Meeting with Carla? Carlo and Nikko and their lifestyle? Trade? The later revelation of their working with the authorities? Carla, her aloofness with Tom? Considering him an unsophisticated Middle American? The contrast with the Italian sophistication? Her taunting him? His kissing her, her response? The relationship? Her relationship with Nikko, his seeming threats – but his disappearing from the scene and from the film? Carla and the outings with Tom? His return, her support of him, the final kiss?

6. The troops in headquarters, being sent out into the mountains? The Kachin natives? The Japanese and their advance? The attack on the Japanese, the troops, the fire bombs for the planes and trucks? The deaths?

7. The war sequences, the Chinese invading Burma, the fight with the Americans?

8. Ringa, his New York background, tough, attacking the guards, with the car? Explaining himself to Tom? Out in the mountains? His being made second lieutenant?

9. Gray Travis and his place as a doctor, encountering Tom, helping the wounded? Tom and his commandeering Travis? The flight, the parachuting out? Travis and his looking after the sick, his challenge to Tom, friendship with him?

10. Norby, his sexist remarks, his easygoing attitude, calling Danforth Hiawatha? Danforth and his Indian American background? His tough stances?

11. Nautaung and his support of Tom, working with him? His death?

12. The warriors, those who died, including de Mortimer and Danforth? Tom being wounded, Ringa giving his shirt?

13. The Chinese invasion, the betrayal by the Burmese, their execution? The attack by the Japanese during the banquet?

14. Tom, his anger, ordering the prisoners killed? Sending message to the authorities? His willingness to be tried for murder? The authorities and their interviews, discussions? His being praised for his work?

15. The ethos of World War Two and the Americans, the retrospective of the late 1950s? In view of American involvement in wars, especially in Asia, in the coming decades?

THE ONE

US, 2001, 87 minutes, Colour.
Jet Li, Carla Gugino, Delroy Lindo, Jason Statham.
Directed by James Wong.

The One was one of the earliest star features for Jet Li in the United States after a very strong career in China. From the 1990s on he made films in both countries. The American films tended to be action oriented. In China, he made some spectacular action films including Hero for Zhang Yimou.

The audience has to concentrate a bit, if they wish, on the plot complications of this film (with nods to such films as the Matrix series).

There are many universes and some people are able to move from one universe to another. In this film, a guard becomes all-powerful and decides to kill of his other selves in order to absorb their power and become The One. The last remaining victim is a sheriff in this world. The film is mainly about the escape from prison by the criminal identity, his pursuit by two officers (Delroy Lindo and Jason Statham) and the confrontations and ultimate fights between the two, the possibility for Jet Li to be fighting with himself. Carla Gugino portrays his wife.

The film has the touches of the spectacular action in its choreographed fighting. The film was written and directed by James Wong, writer for The X Files and director of Final Destination and Final Destination 3.

1. The popularity of Jet Li? Performer? Martial arts fighter? The quality of this film and performance?

2. The influence of such films as The Matrix? Alternative universes?

3. The visuals of the ordinary universe, the familiar world? The contrast with other universes? The prisons? The darkness? The pounding musical score?

4. The introduction and explanation about multiple universes? Travel from one to the other? Multiple aspects of the one person? The guards and their possibility of moving from one universe to the other? The aim of Lawless, to become The One?

5. The opening, Jet Li as vicious? Lawless? The guards, his imprisonment? His escape, his agility? Moving from one world to the other?

6. Gabe Law, the sheriff, working in the prison? Ordinary? His love for his wife? Ordinary home life? The shooting in the carpark? His becoming the target?

7. The two agents, Roedecker and Funsch? Partners, collaboration? In pursuit of Lawless? Moving from one world to the other? The confusion of the identities of Lawless and Law? Roedecker and his being with Lawless? Funsch and his being with Law?

8. Funsch and Law, the explanations? Funsch helping? Roedecker and Lawless, the fights, the escape? The reappearance of Roedecker at the gas station?

9. T.K., her love for Gabe, her confusion? The laboratories, the hospitals, the tests? Going home, Lawless in the house, seeing Law outside? Her confrontation with Lawless – and his hiding in the roof?

10. The build-up to the final confrontations? The confusion? Law and his being pursued? Each having power? The elaborate staging of the final fight in the factory? The steam being released?

11. The agents and their pursuit? The confusion about who was the genuine law? The possibility for Law’s execution? The agents realising the truth? Lawless and his being disintegrated? Imprisoned in the other universe – but his taking tough stances over the thugs and becoming lord of that universe?

12. The metaphysical themes – at the service of an action show?

THE ISLAND ON BIRD STREET

Denmark/UK, 1997, 107 minutes, Colour.
Patrick Bergen, Jordan Kiziuk, Jack Warden, James Bolam, Suzanna Hamilton, Michael Byrne.
Directed by Soren Kragh- Jacobsen.

The Island on Bird Street is a ghetto and Holocaust film. It is based on a novel by Yuri Orlev. It is the story of a Polish ghetto, seen through the eyes of a boy. (The film was made in authentic situations in the Polish town of Wroclaw.) The re-creation of Poland during World War Two, the visuals of the ghetto are very strong indeed.

The film focuses on a Jewish family, the father played by Patrick Bergen, the uncle played by Jack Warden. The young boy is played by Jordan Kiziuk. When his father and uncle are taken away, the young boy is able to hide in the ghetto and survive for a long time. He scavenges for food, encounters some men from the Underground, goes to get the help of a doctor (James Bolam) whom he sees from his window playing chess. The doctor is also part of the Underground and helps. He is also taken to the church where he encounters the priest (Michael Byrne) whom he had encountered earlier. All help him. He is also attracted by a young girl whom he befriends when he ventures out into ordinary life. He is offered the opportunity to leave with them but decides to stay in the ghetto and wait for his father.

The film is strong in its presentation of the hardships in the ghetto – but accommodated for watching by a younger audience (as was The Boy in the Striped Pyjamas). It is in the vein, in some ways, of Schindler’s List, and anticipates some themes in later Holocaust films including the hiding out and isolation in the ghetto in Polanski’s The Pianist as well as the priest helping the young Jewish boy in Edges of the Lord, with Willem Dafoe and Haley Joel Osmont.

The film gives a younger audience an opportunity to visualise what happened during the war years and the effect on the Jewish community.

1. A Holocaust film, the story, Poland, the tradition of Holocaust films, the impact for the audience? The younger audience?

2. The re-creation of the ghetto, the buildings and streets, the factory, interiors, decay and poverty? Outside the ghetto, the doctor’s office, the streets, the lake, homes? Musical score?

3. Alex and his reading Robinson Crusoe? The paralleling of his survival with Robinson Crusoe’s story? Alex reading, Snow the Rat, the excerpts, their being inserted into the plot and the plotlines?

4. The focus on the family, a microcosm of the Jews during the war, the absence of the mother? Stefan and his work, care for his son, protection? His being threatened? The uncle, jovial, kind? His age, being assaulted and kicked by the officers? The selection process, father and uncle taken, engineering Alex’s escape, the uncle’s death, the father’s promise?

5. The fear of Selections, random, the troops coming into the ghetto, the commander and his brutality? The closing of the ghetto, the military searches, finally being bricked up?

6. Alex, his age, personality, a reader? His survival? Strong character? The rat as his pet, being taunted by the other children? His own hideaway, being saved from the troops? His family taken, his grief? Hiding in the hole, his safety? The rope ladder, the bag and the encounter with the priest? His collecting food and goods? Settling in? The search of the food and his taking the food, his death? Having the shower, a touch of comfort? The Robinson Crusoe parallels?

7. His watching the doctor play chess? The two men from the Resistance? The shooting, his using the gun (and the background of his father teaching him how)? Going to the doctor for help, the doctor’s wife and the goods? The man recovering? His friend not returning? Sharing, talking, reading, going out, the Latin? Alex going into the church, the icons, the sign of the cross, going into the confessional, encountering the priest again, his offer of help?

8. The boys, their taunting and anti-Semitic tone, Stasya and her friendship, her pretence, saving Alex? The meetings, talking, the family, the meal, the bed for the night, the mother offering to take him with them? His decision to stay?

9. The collapse of the ghetto, bricked up, his hiding in his hole, the change, his father’s return and finding him, reunited?

10. A boy’s eye view of the ghetto, anti-Semitism, the Holocaust and World War Two?

WALLANDER: HAMNDEN

Sweden, 2009, 90 minutes, Colour.
Krister Henriksson, Lena Endre, Fredrik Gunnarson, Jens Hulten.
Directed by Charlotte Brandstrom.

Hamnden is the first in the second series of the Swedish version of Wallander. Krister Henriksson plays Wallander in twenty-six episodes, the first in 2005, the second in 2009/10. He is a contrast with Kenneth Branagh who portrayed Wallander in six British/Swedish telemovies.

The Swedish film is much more ordinary in its presentation of police work in Sweden, contrasting with the Branagh version where he is a tortured soul and the film focuses on his own personal crises, relationship with his father and his daughter, his anguishing over his work and its implications.

In this film, which resembles the story, Faceless Enemies, in the Branagh series, there is a focus on racism and the fears of Arab terrorists in Sweden. It seems that cells of terrorists are targeting officials in Ystad, on the occasion of a Mohammed exhibition (echoes of the controversies about the Mohammed cartoons in Denmark). In fact, the murders are being done by a discontented military man who resents the closing down of the barracks in the town and wants to get revenge on officials, and the nurse who was responsible for the death of his son in hospital. The film raises issues of inherent racism, fear of terrorists and irrational response, including a visit and speech by a government minister.

Wallander seems a much more ordinary person in this film, celebrating his birthday, laughing a great deal more than does his Branagh counterpart. The team is there working with him as well as two young recruits who are assigned to Ystad.

Sveitman is also a constant in the films, on guard when the first murder is done, investigating, responsibility for the death of the perpetrator.

The films are interesting police stories in themselves, as well as Swedish interpretations of the novels by Henning Mankell.

1. The popularity of Wallander as a detective? A personality? The Swedish series? The British series?

2. The Ystad settings, the overall view of the town, on the water, the streets, the countryside, police precincts, official offices, homes? Sense of realism? Musical score?

3. The introduction to Wallander, his age, celebrating with his friends? The alert about the power blackout? His investigations, taking charge? Working with his team? The two young recruits and giving them jobs? Asking the young woman to get his dog – and her reaction? The investigations, the scenes of the crimes? The interviews? With Katarina? With the further murders, the husband of the murdered woman? The visit to the hospital? The pursuit of the murderer? Questions, clues? The terrorist suspects, the interrogations, the military raid? Discussions with the military about their presence? His wariness about special squads and the military invading the town? The clues that it was a military situation? The visit of the minister, his keeping guard, Anders taking him as a hostage, their discussions? Anders as terminally ill? At the water, getting out, Sveitman and his pushing the car into the water?

4. The blackout, the raid? The murder of the official? Suspicions about the Mohammed exhibition? The murder of his assistant? The nurse being shot in the hospital? The same mode of action? The suspicions of the Arabs, the arrests, the interviews and questions? The raid on the cell? The fact that terrorism was being prepared? Public reaction – with the touch of hysteria?

5. The military issue, the closing down of the barracks? Sweden in peacetime? The military man, his resentments? The death of his son? His anger at the officials? His skills as military? Explosives? His terminal illness and the trigger for his murders?

6. Sveitman, guarding the official, the man being murdered, his reaction? Investigations, the information about the cars? The barracks? His going and discovering the truth? His pursuit of the killer and driving the car into the water?

7. The members of the team, autopsies, forensics? Interrogations? The bonds with Wallander? Isabell and her being seconded to the squad? Pontus? His skills with the computers?

8. The subplot with Katarina, friendship with Wallander, moving in, the encounter with her daughter at the end?

9. A satisfying crime reconstruction, detection, solving of the mystery? Swedish themes?

THE BLIND SIDE
 
US, 2009, 129 minutes, Colour.
Sandra Bullock, Tim Mc Graw, Quinton Aaron, Kathy Bates, Jae Head, Lily Collins, Ray Mc Kinnon, Kim Dickins.
Directed by John Lee Hancock.

If you are a fan of American football, you would know what the term, blind side, means in terms of play and tactics.  The rest of us don't know and so the title, at first glance, is a mystery.  The makers seem to know this and so offer an illustrated explanation as the film opens and we are introduced to the game, the play, a particular instance where a blind side violently ends a player's career and introduces this play into mainstream games.  At least, that is what |I got out of this prologue.  I'm still not sure what the consequences of this episode really were.  However, Leigh Anne Tuohy of Memphis, who is doing this explanation, then informs us that it changed her life.  This involved her and her family's adoption of a young African American man, Michael Oher – this part everyone in the audience can understand.
 
So, The Blind Side is a film that features football (with some practices and some match highlights) but is more a film about a family and doing good.  They are Christians and their children go to a Christian school, so there is a religious dimension behind what they do.
 
Michael Oher (Quinton Aaron very effective in the role) is a 17 year old big, very big, youth, usually known as a gentle giant.  His mother is an addict.  His father tries to get him and one of his brothers into the Christian school via sports ability through the coach.  It is not plain sailing as Michael is more than reticent and the staff are not impressed except for a science teacher who spots his attentiveness and finds one of his poems which reveals a great deal about his outlook on life and his sensitivity.  At the same time, while he is wandering the streets to the gym where he shelters, Leigh Anne spots him and, determined woman that she is (and that is an understatement!), she has him at her house, the family consenting when asked, and, eventually, as part of the family.
 
This is heartwarming stuff and presented with touches of humour.  Michael begins to thrive.  The children, especially the younger boy, bond with Michael and soon regard him as a brother.  The father acquiesces in all his wife's energy and plans (though her charity lady friends do not and she tells them 'shame' on their attitudes).  There is still an amount of racism in Memphis (as appears also in the football games).
 
For those who have an inbuilt mechanism against heartwarming, do-gooding movies, maybe the curiosity to see Sandra Bullock's Oscar-winning performance will overcome it.  She is strong, forceful and a power for good.  (Those who like her compare her to Erin Brockovich, those who don't have called her the Sarah Palin of the South!.)  Hard to asses what puts some people and critics off the overt presentation of goodness on screen – perhaps they interpret this as too preachy.  However, the film was extraordinarily popular in the US, making more than 200 million dollars in the cinemas.

1.            A true story, contemporary, inspiring?

2.            The Southern setting, a world of affluence, the contrast with the poor areas of Memphis?  Racist and striving for equality?  Change?  The city of Memphis?  (The Georgia settings for Tennessee?) 

3.            The title, the opening, the explanation of the football positions, moves?  The focus on football, the practices, the tactics, the games?  The competition?  The role of the coach?  The achievement?

4.            A film about family, the Tuohys and the expanding family? 

5.            The background of the Christian school, the Tuohys as Christians, practising the Gospel?

6.            The framework of the interrogation of Michael, the motivation for his choice of universities? 

7.            The Tuohys and their life, the strong family bonds, Sean and his restaurants, financial success, management?  Leigh Anne and her work, interior decorating, busy, her charities, lunches with her friends?  Picking up the children at school?  Collins and her teenage interests?  S.J. and his age?  The personalities of the children, strong, achievers?  Leigh Anne and her being in control of the house? 

8.            Michael and Stephen, their father going to the coach at the school, his plea (and later information about his death)?  The boys playing ball, Michael and the baskets?  The surprise of the coach?  Michael and his size, gentle giant?  The coach putting his name before the board, the principal and the hesitation of the board, the Christian ethos, the coach saying it was the right thing to accept him?  His going to the school, going to classes, sitting silent, the reaction of the various teachers, those who were negative?  Mrs Boswell and her positive approach? 

9.            The portrait of the teachers, their requirements for their class, the literary man and his snobbery, commenting on the spelling of the poem?  The history teacher?  Mrs Boswell, science, the test, Michael not writing any answers?  The issue of his IQ?  His capacity for listening?  His capacity for protective services?  Mrs Boswell reading the poem in the staff room?  His passing the test?

10.         Michael’s life, the flashbacks – and the full explanation kept till later in the film?  His mother, the many children, her drug convictions, the men in her life?  Michael taken when he was young, unhappy, wanting to be with his mother?  Her telling him to close his eyes so that there would be no past?  His coping?  The Hurt Region of Memphis?  His visits (and telling Leigh Anne to stay in the car)?  His wandering around the city, collecting the food from the football field, going to the gym because it was warm? 

11.         Leigh Anne, seeing him, her talking to him, telling him to get into the car?  The family welcoming him, the children, Sean?  His not talking much?  The couch, their wondering whether he would steal anything?  The morning, his folding the blankets, leaving, Leigh Anne persuading him to stay?  Going to the shops, choosing the clothes (and her fastidious taste)?  The buying of the bed, giving him the room, the first time that he had a bed?  Meals?  Going to school?  Thanksgiving, the television, his going to the table, the whole family sitting at the table and celebrating?  With S.J., Collins and her helping him with the study, sitting at the same table?  His coming to life, talking more?  The meal in the restaurant – and his going back to speak to his brother? 

12.         Leigh Anne and the lunches, the ladies and their comments, her calling shame on them? 

13.         The restaurant, his brother, his giving more information about his family, brothers and sisters, mother? 

14.         Football, the coach, Michael being awkward, protective, S.J. and the exercise regime, the techniques used to study tactics?  Practice – and Leigh Anne explaining to the coach how he ticked, likening his football play to the defence of the family?  Her asking thanks from the coach?  The game, the racist taunts, his initial awkwardness, finally coming to life? 

15.         S.J. and his taking photos, the DVD of Michael’s play?  The various coaches watching the DVD, their positive reactions, coming to visit the Tuohy household?  Michael and his reaction to the visits?  S.J. and his being there for the interviews – with his own demands?

16.         The issue of Leigh Anne being Michael’s legal guardian, going to the office and the confrontation with the woman at the counter?  The interview, the need to find Michael’s mother, at home, the discussions, her story, her concern about Michael but not wanting to see him?  His various names? 

17.         The offers for universities?  Leigh Anne and Sean and their advice, Miss Sue and recommending Mississippi?  Insinuating the decision and choice? 

18.         Miss Sue, as a type, declaring she was a Democrat?  Her coaching with the studies, her patience with Michael, his gradually learning?  The literary man and accepting an essay for upgrading?  Sean and The Charge of the Light Brigade, the paralleling of courage in ordinary situations?  Michael writing the essay, the teacher giving him a good mark?  His graduating? 

19.         The interrogation about the college, wanting to see if there was family prejudice?  His leaving the interview, going to Hurt City, the gangs?  The friends, the threats?  Leigh Anne going for the second time, threatening the gangs? 

20.         Finding Michael, his achievement?  The screenplay offering reflections on why the Tuohy family did what they did?  And the providence that helped Michael over and above so many other similar young men?

21.         The final credits with the photos of the real Tuohy family and the real Michael? 

THE INVENTION OF LYING
 
US, 2009, 99 minutes, Colour.
Ricky Gervais, Jennifer Garner, Jonah Hill, Louis C. K., Jeffrey Tambor, Fionnula Flanagan, Rob Lowe, Tina Fey, Edward Norton, Jason Bateman, Philip Seymour Hoffman.
Directed by Ricky Gervais and Matthew Robinson.
 
A light comedy, played for smiles rather than laughs, that takes on quite a few potentially profound themes.

Co-writer/director, Ricky Gervais introduces the film during the credits and tells us that this is the story of a chubby little man (played by himself). The main thing about the world in which he lives is that everybody tells the truth – especially blurting out their inner thoughts and feelings, often unprovoked. They accept this disconcerting aspect of life as normal. Some of the scenes where characters come out with their unkind, dismissive and judgmental 'truths' is often ironically amusing.

However, one of the unanticipated aspects of the screenplay is that, because people speak the truth, those who hear it accept whatever they hear as true. Since a lot of the judgmental stuff is ridicule and writing off others as losers, this has
a deeply detrimental effect on self-image of those who are mocked and dismissed.

Down on his luck screen writer (for Lecture Films where a professor reads history texts from the screen (and is played by Christopher Guest), Mark Bellison (Gervais) is in love with Anna (Jennifer Garner) who wants a gene-correct husband and says so. But Mark is considered a loser by all, including those at the office (Rob Lowe, Tina Fey). However,one day he gets a brainwave while withdrawing his meagre savings from the bank and tells a lie, bumping up his cash total – which, in this world, is accepted as the truth. His life changes when he lies, sometimes for the benefit of others, especially when he comforts his dying mother (Fionnula Flanagan) who is afraid of an eternity of nothingness. Word gets out about how moving what he said to her really is and (a bit like The Life of Brian), he finds himself with a media frenzy and disciples who listen to his every word about 'the man upstairs' and messages about morality, eternity and the meaning of life. As if it had never been said before – we are obviously in a post-Christian era.

Ricky Gervais has a philosophy degree and philosophy underlies a great deal of the screenplay, raising issues about life and death, life after death, human freedom, the nature of God, God as beneficent and malevolent as well as the nature of the churches and whether all that they teach is truth or myth. It is not always subtle but, for those who are not upset because the film is not full of belly laughs, there is some light provocative thinking about important issues going on.

And, if you haven't heard, there are some amusing guest actors as a barman, a traffic cop and a doctor.

1.            The work of Ricky Gervais, his style of comedy, British, deadpan, transferred to the United States?  Irony, satire?  Human nature?  Religion? 

2.            The voice-over, the comment on the credits, the songs throughout the film, Gervais and his self-image, Mark at the bottom of the pile, but the importance of telling the truth and not lying?

3.            The town, ordinary, the collage of people speaking the blunt truth, offensive but people accepting this?  Mark, Anna, the date, her sexual behaviour, the effect for the audience?  Her comments that he wasn’t attractive?  The fact that he was being threatened, fired?  The wry comments of the waiter, the comment about Mark being way out of Anna’s league?  The issue of not telling a lie – but the necessity of bluntly telling the truth or not? 

4.            The date, talk, attraction or not, Anna’s routines, jobs, hobbies?

5.            Mark, at home, watching the television, the Coke and Pepsi ads and their humour?

6.            Frank, in the lift, his discussions about suicide?  Mark and the people in the street?

7.            Mark, his job, the film program, the documentaries about history?  The tour guide of the studio?  The scenes from Napoleon, 1812-13?  The topics of the other films?  Tina Fey’s humour as the secretary?  Taking his messages – despite his being fired? 

8.            Anthony as the boss, timid, walking past Mark’s room, firing him?  The issue of the 13th century and the film about the Plague?  Shelly saying that she loathed working with him?  Brad and his hatred for Mark, goodbye? 

9.            The sad place for abandoning elderly people, Mark’s mother, the blank TV?  Her loss of memory?  Yet her affirmation of her son?  Mark and his being evicted, going to the bank, the machines down, the moment for the lie, the visuals of his brain, asking for the money?  His exhilaration? 

10.         Telling his friend in the bar, everybody believing everything that he said?  His jobs?  The barman agreeing? 

11.         The woman and sex, the end of the world?  Greg and his driving, the police, the issue of the bribe, saying that he was not drunk?  Their going to the casino, getting the chips, gambling, cheating at roulette?  Their success?

12.         Frank, looking up suicide on the internet, issues of suffocation?  Mark lying to him for his own benefit, promising to hang out?  Taking the vagrant to the bank, the couple who had quarrelled at the café reconciling?  The old people? 

13.         His spiel about the 13th century, the aliens from space, the nude Amazon wedding?  Everybody being impressed at the studio?  Their applause?

14.         His mother, her fear of death, his offer of consolation, talk about Heaven?  The doctor and his reaction?  The media and the crowds?  Anna believing him?  His writing the text?  People keeping vigil?  His proclamation of his new principles – from the man in the sky?  Written on Pizza Hut boxes?  The proclamation, God and Heaven?

15.         People, religious attitudes, their absence, credulity?  Gullibility, desire for religion?  Good stuff, bad stuff?  The people turning against God because of his cruelty?  Yet the explanations of God and the good stuff?  Their decisions about Heaven?

16.         The Black Plague film, awards?  Anna and her response?  The Bear and the Jammed Tale? (**??) Looking below the surface?

17.         Anna and her concern about her progeny, chubby snub-nosed children?  Yet her nice comments about Mark?  Finding him interesting?

18.         The interview, the affluent life, the scripts?

19.         Anna and Brad, the issue of genetics, ordering the meal, Brad and his prestige, his blunt comment about her losing her looks?  The plan for marrying?

20.         The people arguing, Mark saying people could do three bad things before going to the bad place?  People and human nature?  The kicker, yet Frank and his wanting eternal happiness rather than the drab life here?  

21.         Anna, discovering love?  The critical comments of her mother? 

22.         Mark going to his mother’s grave, his beard and hair, the appearance of Jesus?  Greg’s visit, getting him to shave?  Going to the wedding?  The issue of genetic fat children?  The ice cream?  Anna and her meeting the little boy in the park and his being bullied, her affirming him? 

23.         Mark at the wedding, his interruption?  Anna wanting to know what the man in the sky would want?  Mark and his trying to make her make her own decision?  His confession?

24.         The end, the family, the boy and his ability to lie – especially about Anna’s cooking and how bad it was?

25.         The film considered as being anti-religion?  Ricky Gervais’s own views?  How fair was the presentation of religion, pro and con?