WE’LL MEET AGAIN

US, 2002, 90 minutes, Colour.
Laura Leighton, Brandy Ledford, Gedeon Burkhard, Andrew Jackson, Anne Openshaw, Bryan Genesse, Paula Shaw.
Directed by Michael Story.

We’ll meet again is one of many version of Mary Higgins Clark’s novels. It has been written and filmed in the vein of many of the Danielle Steele novels. Romance, glamour, and a murder mystery.

Laura Leighton has a strong screen presence as a journalist who had left the small town after the suicide of her father who had been accused of embezzling moneys and returns as a journalist. School friend, played by Brandy Ledford, has been released from prison after six years for allegedly murdering her husband though she has amnesia.

This sets the scene for interaction between the two women, their school friends now professionals, the housekeeper and her mentally-impaired son. It is fairly clear that the wife did not murder her husband – but there are a lot of complications from the hospital, malpractice at the hospital, secret files, doctors having affairs with nurses.

If one is led to suspect the most unlikely character, one could probably see who one of the murders is. The other one, in retrospect, also seems obvious. However, the film gives clues while leading audiences away from the suspects.

This is telemovie material along the lines of soap operas.

1.The popularity of Mary Higgins Clark’s novels? Their murder mysteries, their characters – and suitability for a wide range of readers?

2.The affluent setting, the town, mansions, hospitals? Newspaper offices? The musical score?

3.The focus on Molly, her declaration in the court, acceptance of the prison sentence, unable to remember, accepting her fate? Her release after six years? Her lawyer, the press wanting an interview? Her return home? Mrs Barry and the care of the house? Her attempts to remember, sounds suggesting themselves, images? The encounter with Fran, wanting to meet her, openly discussing her plans to find out who the murderer was? Their collaboration? Molly and her friendship with Jenna, visiting her twice a week in prison? The nastiness of Jenna’s husband, Nick? The friendship with Doctor Peter Gaynes? Molly and tracking down the nurse, meeting her at the diner, discovering her dead body? The pressures on Molly, her having an inner resolve? The dangers from Jenna, the champagne, her recovering consciousness, saving Fran from Jenna’s attack? The happy ending?

4.Fran, her background, her life in the town, at school, her father, the accusation of embezzlement, the disdain of the townspeople, her mother taking her to New York? Her not wanting to return? The job at the paper, the editor and interactions with him? His giving her the assignment, watching Molly come from prison? The phone calls, the meetings, discussions? Her own investigative journalism? Interviews with people, the woman at the cafeteria giving her information about the two murders? Information from Molly? Meeting Jenna and Nick, the meal, Nick and his hostility? Edna Barry and her hostility? Meeting with Peter, agreeable, on the rounds, finding the young woman in coma? Going to the stables, the attraction towards Peter? His explanations of the situation, the murders, the secret files?

5.Jenna, the good friend, visiting Molly in prison twice a week for six years, the marriage with Nick, their clashes? Jenna helping Molly? Nick and his behaviour at the dinner, warning Fran off? The interactions with Peter? The hospital, wanting to do the deal? Public relations? The revelation to Fran about her father’s money, his being the occasion for her father killing himself?

6.Edna, gossiping with the neighbour, her son, her suspicions, the issue of the keys? Her son and his concern for Molly? The plausibility of his murderer as explained by Fran to the lawyer? His collapse, his mother taking him away, his disagreement with his mother? The fact that he saw Gary dead? Looking in the window at Molly?

7.Audiences not being suspicious of Peter, the meetings with Fran, the attraction, the kiss? The revelation of the truth, discussions with Nick, his lies to Fran? The murder of the first doctor, his being guilty of malpractice? His killing the nurse? Chasing Fran in the car and trying to make her crash?

8.The nurse, Molly contacting her, the meeting, her telling the truth, her expectations about Gary and love? The pregnancy, adoption? Her being murdered? Her sister visiting Fran and explaining the situation?

9.Fran, her conversations, the man at the diner, building up the information? Finding out that Peter was lying? Going to the stables, the confrontation, his attempt to kill her, her kneeing him, getting in the car, his holding onto the car, his falling off, his death?

10.A satisfactory resolution to the mystery? And happy ever after for the survivors?

MR NOBODY

Belgium/Canada, 2009, 125 minutes, Colour.
Jared Lito, Diane Kruger, Sarah Polley, Linh Dan Pharm, Juno Temple, Rhys Ifans, Toby Regbo, Daniel Mays, Natasha Little, Alan Corduner.
Directed by Jaco van Dormael.

Mr Nobody is an intriguing film – but may be too baffling for average audiences. It is a futuristic fantasy.

Jared Leto, in an excellent performance, has to play the oldest man alive at the end of the 21st century. The film veers between that time and back to contemporary times. Leto has to perform as the young man and the old man. However, he is identified as Nobody – because in the future, humans have died out and only clones live. In his reminiscences, in his dreams, his goes into parallel worlds. We see his different upbringings, in different countries, from Wales to the United States. We see his different marriages, his different relationships. Diane Kruger is very good as his wife Anna. Sarah Polley is even better as his life-long love, a depressive woman called Elise.

The film is beautifully shot, has a varied musical soundtrack. For those who like mystery in their films and something exotic and esoteric, this film will fulfil all the expectations. Mr Nobody is an intriguing film – but may be too baffling for average audiences. It is a futuristic fantasy.

1.A fantasy, a fiction, futuristic? A portrait of humanity? The loss of humanity? Identity?

2.The title, Mr Everybody and Mr Nobody? The character’s name as Nemo?

3.The vision of the director, nothing real, everything possible, everything real? 2092, the post-human era, androids? Television and the watching of programs, the over-cheery hosts, themes of death, cameras? The audience in 2092 – and lost humanity?

4.The vision about the 20th and 21st century, ordinary life, families, growing up, parents, choices, possibilities, different paths and consequences? Chaos theory, the butterfly and its wing, the leaves floating – and their consequences? The director wanting the audience to imagine the differences had things been different? Alternate worlds?

5.Themes of absolutes, relativity, values?

6.The production design for the past, the present, the future: sets, décor, costumes? The visuals of the skyline of the futuristic city?

7.The musical score, its wide range, the popular songs, the classics, the lyrics and their relevance to the action?

8.Film references, 2001, The Fountain, Sliding Doors…? Alternate worlds?

9.The performances, Jarrod Lito as very old, as young, in the three marriages, his own family, the versatility? The performances of the wives, the parents, the children – especially as teens? The characters and their behaviour in their particular different worlds? Style, personalities, the colours of their costumes? Audiences being able to focus on the different perspectives of the characters?

10.The future, the doctor, the tattoos on his face, the interview, psychology, hypnosis, memories? Moving within memories? Nemo and his asserting that he was thirty-four – rather than as he appeared in his nineties?

11.The young journalist, curious about what it was to be human, human behaviour? Qualities and foibles? Relationships, love, sexuality – and Nemo’s explanation, down-to-earth? The journalist not understanding?

12.The proposal to show Nemo’s death on television, his saying it was the happiest day of his life, the meaning of death?

13.Nemo at thirty-four, 2009, stuck? Going back to 1975, his parents, his birth? As a young boy, with each of his parents? The directions of his life?

14.Chaos, the butterfly, the leaf, Nemo’s parents meeting, the fall, love, marriage, different personalities, their clashes, the mother and her relationship with Harry? Anna and the friendship with Nemo? Nemo seeing his mother? School life, the three girls who had become his wives? Hobbies, introspection?

15.The portrait of the parents, in love, parting? At the station? Nemo’s two choices, seeing each parent, with his father, following his mother? Staying with his father in England, the girls, Anna, Lisa and Jean? His long caring for his father? His injury, the coma, imagination?

16.Going with his mother, in the United States, with Harry and Anna? His life with his mother, her happiness and lack of happiness? His relationship with Anna, falling in love? The clash with Harry, Harry leaving? Harry and his condemnation of the relationship between Anna and Nemo?

17.The visualising of the three marriage ceremonies, Nemo as a character moving in and out of each, knowing and not knowing which life he was in?

18.The continuing motif of the science lecture, science, the philosophical issues and commentary – for a television audience?

19.The future, the trips to Mars, cryogenics, the experience of the future, the people being thawed, Anna and Nemo on the spaceship, the bond, the failure of the mission?

20.Jean, the marriage being observed, Nemo not loving her, the children, Jean’s continued puzzle?

21.Elise, teenage relationship, her love for Stefano? Nemo and Anna, the dance, his marrying Elise, her still pining for Stefano?

22.The three marriages and the way that they were visualised, Nemo’s different appearances, the colour schemes for the house, the clothes? The different comfort – the home with the pool? The ordinary home and his cleaning the car…?

23.Elise, sick, morose, the children? Nemo and cleaning the car? Her complaint, his burning the car? Her getting up for the birthday party, her exuberant and joyful dance?

24.Nemo with each of his parents, with each of his wives, the children? A different person and a range of possibilities?

25.Nemo dying – yet the rewinding of his life? The audience being caught up in this fantasy – understanding, probing, uncertain?

HE SEES YOU WHEN YOU’RE SLEEPING

Canada, 2002, 90 minutes, Colour.
Cameron Bancroft, Erika Eleniak, Udo Kier, Greg Evigan.
Directed by David Winning.

He Sees You When You’re Sleeping is based on a novel by Mary Higgins Clark. It has some aspects of the murder mysteries and crime thrillers that are the staple of her novels. However, it is also a Christmas fantasy – in the vein of Here Comes Mr Jordan, Heaven Can Wait, Down to Earth.

The film focuses on a stockbroker, played by Cameron Bancroft, who is killed in a freak accident on a golf course. An angel appears to him and gives him an opportunity to redeem himself, by using his wits to protect the woman that he loved in the past, Erika Eleniak, and her daughter who is threatened by gangsters. She is in the witness protection program. They also link up with someone whose house was burnt by the gangsters and who also gives testimony.

The film has the light touch, the fantasy element, along with the romance, making up for past regrets, justice being done in the courts against gangsters.

1.The popularity of Mary Higgins Clark novels? This variation on her usual themes? Fantasy?

2.The North American settings, the homes, the world of gangsters, stockbrokers, golf course…? Realist atmosphere for a fantasy? Musical score?

3.The title, the overtones of the guardian angel? Sterling Brooks as a guardian angel?

4.The introduction to Sterling, his high-handed methods, arrogance? Golf, his accidental death? The appearance of the angel? The discussions, the offer for help? His hesitation, accepting? The swift movement (by editing) of Sterling and the angel? Thinking where to be and being there? His meeting Annie, the memories of the past and his relationship with her? Seeing her daughter?

5.Marissa, with her grandmother, her age, anger with her mother? The past bonds? Her not knowing her father? Skating, behaving arrogantly? The threats by the Mafia? Her mother, the witness program, the phone calls, wanting her mother to be home for Christmas?

6.Sterling, the discussions with the angel, being on his own? His being able to be seen by Marissa? Her reaction against him? Gradual acceptance? The possibility of his doing good?

7.The flashbacks, Annie and her mother, the restaurant, the social function, her singing, acclaim? The invoice, in the gangster’s room, hiding under the desk, hearing the threats against Hans Kramer? Burning down his house? Her escape? The house burning down, Kramer’s reaction? Her talking to the police, going into the protection program?

8.Junior Badgett and his brother? Gangsters, ruthless? Burning down the house? Debts and payment? Their reaction against Annie? The relationship of the two brothers, with the memory of their mother?

9.The irony of the mother, appearing as an angel, her intervention with her sons? Appearance to the older brother? His going state’s evidence? Her appearance, the portrait, her threats? Saving the day?

10.The court appearances, the testimony? The judge? Annie and her fears?

11.The abduction of Marissa, hiding her? Sterling, using his initiative, finding her, rescuing her?

12.The appearance in court, giving testimony? The revelation that Sterling was Marissa’s father? The party, the mother and her cheerfulness, the photo?

13.Sterling going to Heaven? Yet his presence in the photo? The fantasy variation on the crime theme?

WALLANDER: FACELESS KILLERS

UK, 2010, 90 minutes, Colour.
Kenneth Branagh, Jeany Spark, Richard Mc Cabe, David Warner, Sarah Smart, Polly Hemingway.
Directed by Hetty Mac Donald.

Faceless Killers is the first film in the second series of Wallander, directed by the BBC. The films are based on the novels by Henning Mankell.

In this film, the focus is on a brutal murder which is attributed to foreigners. In the meantime, Wallander’s daughter is dating a Syrian doctor which surfaces doubts and some prejudice in Wallander’s own character. However, he combats this, especially when racist murders emerge and hate crimes as a result of the initial killings. While the focus of attention goes onto the racist killers, ultimately the killers are foreigners so that the film leaves the audience with an uneasy feeling about judgments and prejudices. In this film the focus is also on Wallander’s father, introduced in the third film of the first series, played effectively by David Warner. He is an artist whose mind is deteriorating and who finds himself hitchhiking on the road in his pyjamas, not wanting to go to an institution, his memory going but he is trying to paint.

1.The quality of the series, set in Sweden, filmed in Sweden? Drama, crime, mystery? Personal story?

2.The Swedish locations, the farm, the towns, police precincts and offices, the fair? The musical score? The title and the focus on the killers of the couple? On the hate killers?

3.Kenneth Branagh as Wallander, age, appearance, his being an interior man, morose, strong sense of duty, dedicated and relentless, his work as the superior officer, severity, his skills in detection, confrontations?

4.The particular issue of guns, shooting a man dead and the consequences?

5.The initial murder, the old couple, the two masked men creeping up, the brutality of the killings, the bodies, found by the neighbour, his explanations? The background information about Lovgren? As a man, his child, his giving the money to the mother of the child, regularly for many years? Even with the death of the child? His treatment of his wife? Getting the money from the bank? His being tortured to reveal where the money was? Mrs Lovgren as a good woman? Her final word and its ambiguity?

6.The word, the letter F, as heard by Wallander, speculative, the word ‘foreigner’? As reported, Peter’s leaking the information? The arguments about the information and the possibility of hate crimes? The fact that they occurred? On the television, on the news? The phone calls to Wallander, the threats, the murders? The stolen car, the lead to one of the killers? Following him, the confrontation with the brains behind the plans, the guns? The shootout, the effect on Wallander?

7. Wallander and his staff, his assistant, morale with the group, his needing to have a rest, the good advice of his friend Nybergh, the offer for a pizza, telling him home truths? Wallander trying to cope, the authorities, the police personnel? The various personalities and their teamwork? Coping with the media?

8.Wallander and Linda, her Syrian doctor friend, the meal, the ambiguity of his reactions, Linda and her being upset, Wallander taciturn? His later comments to Nybergh about prejudice?

9.The interrogations, the doctor and his being able to translate for Wallander?

10.The expectations of hate crimes, their happening, the investigation, the shooting, Wallander suspended?

11.The bank, the CCTV, Wallander and his interrogations, identifying the criminals, seeing how they got the address from Lovgren? The fair, the wheel, the chase of the criminals, the shots, the arrests? The irony that the murders were done by foreigners?

12.Wallander’s father, his age, wandering, hitchhiking, in the hospital, talking, his relationship with Linda, the doctor? His statement that Wallander always avoided issues and ran away? His being resigned to going to an institution? His capacity to paint? Gertrude and her continued support?

13.A murder mystery which is entertaining but offers insight into social issues and human values?

DOUBLE VISION

UK/Canada, 1992, 92 minutes, Colour.
Kim Cattrall, Gale Hansen, Macha Meril, Naveen Andrews, Christopher Lee, Shane Rimmer, Barbara Windsor.
Directed by Robert Knights.

The novels of Mary Higgins Clark lend themselves to television movie adaptations. Almost twenty of them have been filmed. She is an American equivalent of the Miss Marple or Poirot stories, combining crime with a certain gentility and with good manners.

This film is not entirely typical of Mary Higgins Clark’s novels, rather more racy than her stories and writing.

Kim Cattrall portrays twins, one very sedate, the other more flamboyant and experimental. When the latter dies, the former has the opportunity to incarnate herself as the other sister with the consequent mystery and alienation of her fiancé.

The film was mainly made in England and has a very strong British supporting cast including Christopher Lee in an unusually sedate, though somewhat sinister, role. Naveen Andrews is the villain. There are guest appearances by Barbara Windsor as a madam and Shane Rimmer as the twins’ father.

1.The popularity of Mary Higgins Clark stories? Drama, intrigue, mystery, romance?

2.The American settings, the mansion in Massachusetts? The contrast with the London locations, flats, clubs, the river? The British countryside? The musical score?

3.The title, the reference to the twins?

4.The introduction to the twins, Lisa and her being the tomboy, with her sister on the water, the dangers? Reckless? In adulthood, Lisa going to London, the mystery of her life there? Caroline, staid, about to be married? Wanting her sister to be at the wedding, the phone calls, her concern?

5.The family, the father, wealth, care for his daughters, the past experience with Lisa, his wanting to disown her, his support of Caroline?

6.Caroline and her relationship with Michael, the ideal marriage? The discussions about her going to England? His agreement, his going to England?

7.Caroline and her personality, prim? The contrast with Lisa? In appearance, styles, fashions and clothes?

8.The background of Lisa’s life, modelling, photography, wanting to be in show business? Her relationship with Mr Bernard? The madam and her arranging Lisa’s life? Her relationship with Jimmy, the auditions, performances? Her death? The brutality?

9.Caroline, coming to England, the mystery of her sister’s death, wanting to find out? Her interviewing people? At the hotel, the encounter with the madam, the revelations? Her taking on the job, going to the photo shoot, going to the madam (Barbara Windsor) and the British tone? Michael arriving, the mystery of her behaviour, of her wearing clothes in Lisa’s style, seeming permissive?

10.The background characters, Mr Bernard, the aristocracy, his treatment of Lisa? The manager, the flats, her control of people? Her relationship with Mr Bernard? Wife? The photographers, the madams?

11.Jimmy, would-be actor, the Othello quotes, performance, watching Lisa and her audition? Driving the taxi? His moods? The confrontation with Caroline, knowing who she was, the confrontation? The revelation that he was the killer?

12.Satisfying ingredients for an easygoing watch on television?

THE MAN BEHIND THE GUN

US, 1953, 82 minutes, Colour.
Randolph Scott, Patrice Wymore, Dick Wesson, Philip Carey, Lina Romay, Roy Roberts, Morris Ankram, Alan Hale Jr.
Directed by Felix E. Feist.

The Man Behind the Gun is a routine Randolph Scott western, just before he made the series of famous westerns with director Budd Boetticher.

Scott, rather at ease, plays an American army major in the years before the Civil War. There is a movement for southern California to secede from California and the government in Sacramento and become a new state, with slavery. There is a mystery about who is leading this movement, whether it be a wealthy man, Creegan (Morris Ankram) or whether the local military commander (Philip Carey) is in league with the group. However, there seems to be a murder – but a revelation that the local senator, seemingly a hero, is behind the conspiracy.

Scott comes in undercover but has to reveal himself as a major. He has two former soldiers as his henchmen, having them on parole and signing up again to serve with him, played by Dick Wesson and Alan Hale Jr. The romantic interest is a strong-minded teacher, Lora Roberts, played by Errol Flynn’s wife, Patrice Wymore who made a number of films at Warner Bros at this time.

The direction is by Felix E. Feist, director of a number of B films and small-budget features.

1.The popularity of Randolph Scott? His focus on westerns? This film as one of his 50s westerns? Original? Conventional?

2.The western settings, California, pre-Civil War, Los Angeles and its beginnings? The musical score?

3.The background of the era, southern California and the possibility of secession from California? To become a slave state? Revolution and uprising? Politicians, the army?

4.The introduction to Major Callicut, the shootings at the beginning? His being quick on the draw? His work with Olaf and Monk? Undercover? Travelling to Los Angeles?

5.The stagecoach, his cover? Seeming meek? The discussions about secession, about guns? The holdup, Callicut’s shrewdness and his forestalling the attack? The encounter with Joaquin Murietta and letting him go, later using him? Creegan and his talk about secession? The senator and his benign approach? Lora and her being quick with the gun? The teacher?

6.Los Angeles, Captain Giles in charge? The issue whether he was in league with the secessionists or not? His love for Lora? His past relationship with Chona? Her being an arms dealer? His recognising Callicut, Callicut trying to deceive him? His management of his station, the revelation of Callicut and his authority, his doing his duty? Relationship with Lora? His helping with the suppression of the uprising?

7.Lora, teacher, going to board with the Sheldons? Her attraction towards Callicut? Her relationship with Giles, the change? In love with Callicut? Her being abducted? Her shrewdness, her being rescued? The happy ending?

8.Creegan, outspoken, in the bar? The confrontation, the shooting of the senator, the shock, the taking of the men who killed him, the rescue? The irony of the revelation that it was a set-up? The senator being the arch villain? His sister, her wanting to inform Callicut? Her being taken? The senator, hard, his power, wealth, slaves? The confrontation and his death?

9.Chona, the songs at her saloon? The arms? The weightlifting competition and the floor crashing through? Her going with Callicut, thinking he was an ally, discovering his identity? The confrontation and the possibility of her changing sides, her being shot by the senator?

10.Monk and Olaf, sidekicks, comic, serious, their activities around the town, with the arms?

11.Joaquin Murietta, his legends, a young man in this film? His ruthlessness, his being onside with Callicut, blowing up the arms? His escaping from the senator?

12.Sutro, an ally in the town, the arrest, shootout?

13.Popular ingredients of a frontier western? With the interesting focus of attention on the future of California?

CRIME SPREE

France/US, 2003, 99 minutes, Colour.
Gerard Depardieu, Johnny Hallyday, Renaud, Harvey Keitel, Richard Bohringer, Saeed Taghmaoui, Stefan Freiss, Abe Vigoda, Joanne Kelly.
Directed by Brad Mirman.

Crime Spree is a tongue-in-cheek crime film with a very strong French cast of would-be criminals who seem to botch every job. They are led by Gerard Depardieu, singers Johnny Hallyday and Renaud (who argued at one stage about what music to listen to) are also in the gang. The French boss is veteran actor Richard Bohringer who invites Saeed Taghmaoui to accompany the group of thieves to Chicago for a job. In the meantime, in Chicago, Abe Vigoda is the Mob boss with Harvey Keitel wanting to take over from him.

The film has a great deal of light comedy, the initial robbery where the painting to be taken goes up in flames. In Chicago, it is not much better and many things go wrong. However, the gang finally gets the better of Harvey Keitel, who has been set up for robbery by the FBI because he has tapes of his plans to take over the leadership of the Mob.

The film was written and directed by Brad Merman, who has written a number of thrillers including Body of Evidence, Truth or Consequences NM, The Shadow Dancer.

1.A heist comic story? Ironic?

2.An American and French collaboration? The strong cast? The backgrounds of Paris and Chicago? The different languages used in the film?

3.Paris, the robberies, the gangster world, the clubs?

4.Chicago, the suburbs, homes, mansions, restaurants, the Mafia?

5.The opening, the attempted robbery, the painting, the cigarette lighter, the curtains, the destruction of the painting, their being caught by the owner, the gunshots?

6.Laurent as the boss? His relationship with Daniel? Getting Zero in with the team, Julien and Raymond? The recruiting of Sammy as translator? Laurent’s character, the boss, his interactions with the group, the weapons? The contacts from America?

7.Sophie, the gang’s arrival, settling in, the details of the job, the comic touches as they interacted with each other?

8.Frankie, the Mafia boss, his awkward henchmen, criticisms of them? His visit to Giancarlo? Giancarlo watching the TV court programs and enjoying them? Frankie and his brother, the debt, breaking his arms, going to visit him in hospital? Frankie’s plans, the phone calls to the different bosses, the tapes?

9.The robbery, tying up Frankie, taking the tapes, the escape, the FBI watching them? No intervention? Thinking they had the wrong address? Actually the right address and the right robbery? The fact that they should have been arrested?

10.Sammy, speaking English, Sophie and her relationship, her taking the tapes?

11.Phoning Laurent, the plan, Laurent’s brother in prison, the plan to get the tapes, the FBI getting his brother out of jail, the failure of the heist? Laurent going to Chicago, the deals, the Van Gogh painting? Giancarlo sending his chauffeur, taking Laurent away?

12.The stolen car, the owner and his henchmen, the exasperation, following the car, its being sighted, the henchmen giving it as a gift to Frankie’s brother, the owner confronting Frankie, the shootout?

13.The streets, the garage, Daniel and his buying the guns? The African Americans helping with the set-ups? The leader who wanted to steal the tapes, confronting the group with a gun, Zero shooting him more quickly?

14.The shootings, the mix-ups, Julien’s death?

15.Raymond, his appearance, psychological talk, slow, the driver, he and Julien hiring the car, the information going to Frankie, the confrontations and shootout, the final shooting and Raymond’s vengeance?

16.Daniel as the leader, coping with the mistakes? Zero as a good shot, talking about himself in the third person? The dispute about the music? Marcel and the stealing of the ball, the mistakes, the ball going into the water?

17.Daniel and his visit to Giancarlo, the deal about the tapes, the escape to Canada, the set-ups?

18.Frankie, his henchmen, the comic touches, his death?

19.On the boat, going to Canada, the Van Gogh painting, the dispute, its falling into the water – and the freeze-frame as they all leapt in to retrieve it?

MAN SOM HATAR KVINNOR (THE GIRL WITH THE DRAGON TATTOO)

Sweden, 2009, 152 minutes, Colour.
Michael Nyqvist, Noomi Rapace, Lena Endre, Peter Haber, Sven- Bertil Taube.
Directed by Niels Arden Oplev.

For readers of crime fiction, Stieg Larsson's Milennium trilogy is a top series of novels, widely read, not only in Scandinavia, but also worldwide. The three novels have all been filmed. This is the first.

At two and a half hours, this is a long film that does not seem so long. It enables the adaptors of the novel to remain close and to develop strong characterisation and include many dramatic situations.

It is often observed that there is a certain darkness about Scandinavian storytelling – especially when it focuses on crime and family secrets (as is the case with the Wallander novels of Henning Mankell and the Swedish and British television series of his stories). Since the murder being investigated here is from 1966, the family extends back to the 1930s and Nazi sympathies right up to the present where the leading female character has piercings and nose rings. It takes in quite some perspectives of the 20th century.

Each of the three stories has as its centre the investigative journalist, Miachael Nyqvist (played effectively and in rather more of a lower-key style by Michael Blomkvist) and a young woman who has been in an institution who is an expert hacker, Lisbeth Salander (Noomi Rapace), who is taciturn but certainly not low-key). The film takes its time in setting up each of the characters – he being found guilty of libelling a wealthy industrialist as an arms dealer but asserting that he had been set up, she being hired by individuals and companies to do background checks and briefings, including on Michael Blomkvist. Then they come together at the request of an elderly patriarch of his family (Sven Bertil- Taube). Or, rather, he is hired and she hacks into his computer and they form a partnership.

The investigative research is presented in some detail, back into newspaper archives, studying and enlarging photos from the 60s, digging out business documents and receipts. Eventually, the mystery is unravelled, but it is a complex path of secrets and lies, vicious murders and sexual violence (rather graphically portrayed), religious and anti-Semitic feeling and a chilling climax to the investigations.

One of the satisfying aspects of the film is that the many strands are brought together or explained – no loose ends. In fact, the word that does describe this crime thriller is satisfying.

1.This film as the opening of a trilogy of films? The popularity of the novels? Adaptation for the screen?

2.The length of the film, retaining audience interest? The development of the plot, the range of characters, situations? Tying up of all loose ends?

3.The Swedish atmosphere, the cities, homes, the countryside? The grim atmosphere? The family, the companies, their secrets and lies? The musical score?

4.The title, the focus on Lisbeth, in herself, with Michael, her appearance, the enormous tattoo, the piercing, the rings? Her capacity for work, solving the mystery?

5.The introduction, Henrik and the receipt of the gifts, the flowers, hanging them on the wall, one for over forty years? The memories of Harriet? Thinking they came from her killer? His determination to have the mystery solved? The interview with Michael, the link with Harriet because of her caring for Michael when he was a boy? Wanting closure?

6.Michael, his working for the Millennium Magazine, the headlines, the trial, his critique of the businessman for being an arms dealer, the response of the media, the libel trial, the verdict against him, the businessman and his press conference, alleged vindication? The prison sentence? The staff meeting, the issue of making the appeal or not? The wariness of the staff, for the future of the magazine? His investigative abilities? His being set up? The invitation to meet Henrik? The explanations, his taking the job?

7.The introduction to Lisbeth, her appearance, her capacity for research, the agent wanting to know her reliability, her investigating Michael and vindicating his innocence? The interview, the editor, praising her ability, her answering questions, leaving the report to speak for itself, her abrupt manner? Taciturn, going to the parole officer, his asserting the rules, the sexual advance, the rape and its brutality, her pain? The irony that she had a video camera in her bag, having the record? The return, stripping him, tying him up, the dildo, his pain? Her setting down the rules, the blackmail for her freedom?

8.Michael and his inquiry, the use of photos and pictures? The computer research? The Vanger family, his knowing some of the women from the past and his childhood? Their past, information about the Nazi sympathies? The older brothers? Harold and his hunting? Gustav dead, Martin and his inheritance? The discussions with the women in the family, their strong-mindedness? Michael and the various meetings and discussions?

9.The photos, the last photo of Harriet, the enlargements, the use of technology, the speculation, Harriet at the procession, her change of focus, her fear, her disappearance?

10.Lisbeth and her hacking into Michael’s computer, meeting with him, her work and research, the codes on the computer, the dates, the victims, their initials? The quotations from the Book of Leviticus, the explanation of the sins, the punishment to be meted out? The finding of the various reports? That one of the victims was a secretary to Gustav? The dates not tying in? Going for the receipts and their dates? The photo of the group, Martin’s presence?

11.Michael, the photo, the carpentry company, going to visit the wife, her photo – and seeing Martin, indistinct, as the object of Harriet’s gaze?

12.The information about the two Anitas, one going to London, dead? The other going to Australia?

13.The hunter, the shooting at Michael? His anger, confronting Michael, Martin rescuing him?

14.The truth, Martin and the deadly influence of his father, their both being serial killers, the father and his anti-Semitic attitudes, the Book of Leviticus? Martin and his continuing the murders, instructed by his father, over the decades? The cellar, the evidence, the morbid photos? The talk with Michael, his delight in talking about his exploits? The glass of water, taunting Michael, talking about the moments of hope before death, setting him up for the hanging?

15.Lisbeth, getting the information, going by bike, having set up videos in Michael’s house, finding Martin in the video, hurrying, saving him, chasing Martin in the car, Martin’s crash, her not saving Martin, confronting him, the car going up in flames? The flashback, the memories of her father, abuse of her mother, her letting her father die?

16.The visit to her mother, talking with her, the mother’s recognition, her sympathy for her mother?

17.The relationship between Lisbeth and Michael? Her own sexual background, living with the other woman, the effect on Michael? Her leaving?

18.The visit to Australia, encountering Harriet, with the sheep in the Outback? Harriet’s return, visiting Henrik, the explanation of the gift of the flowers? The happy reconciliation?

19.The Cayman Islands, Lisbeth and her disguise, with the money?

20.Michael, in prison, his interviews with the press? Lisbeth sending further documents about the arms dealer, the further article, the attack, Michael’s vindication, the suicide of the arms dealer in Spain?

21.How well did the film work as personal drama, as a crime thriller, as an example of detection and investigative research?

THE KREUTZER SONATA

US, 2008, 99 minutes, Colour.
Danny Huston, Elisabeth Rohm, Matthew Yang King, Anjelica Huston.
Directed by Bernard Rose.

The Kreutzer Sonata is Beethoven. The story is Tolstoy. Tolstoy listened to a performance of the Sonata in 1888 and wrote a story which was banned for some years in Russia. This updated version does not look like or sound like what we might imagine Tolstoy's writing to be like. It is the work of writer-director, Bernard Rose, who collaborated with actor, Danny Huston, on another Tolstoy story , The Death of Ivan Illych, which became the film, Ivan xtc. The Kreutzer Sonata is to be followed by a third updating of a Tolstoy story, Boxing Day, again with Danny Huston.

Beethoven's Sonata is played throughout the film along with other classical pieces (despite the central character, Edgar, as he listens to his wife accompanying a violinist playing the Sonata, stating that he loathes classical music – you can't dance to it, you can't hum a tune) offering a 19th century musical imagination to a 21st century cinema imagination of a wealthy playboy type, who also runs a charitable foundation with his sister, and his sexual infatuation with the pianist who becomes his wife and then his growing paranoid suspicions of her and of the violinist.

This is small-budget, digital film-making, taking advantage of the possibilities of getting the camera close to the cast and insinuating itself and the audience point of view into the action, much of it quite personally intimate. Rose also edited the film.

Danny Huston is often a powerful screen presence and he is here, in the film in almost every scene. He is not an admirable person in any way, initially seductive, giving only half his attention to the work of his charity and the meetings with its representative's discussion of education for disadvantaged children in Africa, then settling down to marriage and children – but then obsessive and ultimately violent.

Elizabeth Rohm plays his wife and there is a brief, very effective and alive sequence when Edgar goes to visit his sister, played by Danny Huston's own sister, Anjelica.

Whether the musical imagination corresponds to the narrative, the images and the passion, is certainly open for discussion – and depending on music appreciation and interpretation. Whether this update corresponds well to Tolstoy's story is yet another discussion. But, as a brief picture of contemporary passion, family life and philanthropy it is quite effective for a discriminating audience.

1.The collaborations between Bernard Rose and Danny Huston, the trilogy of Tolstoy stories, updating Tolstoy to the 21st century?

2.The information about Tolstoy, listening to Beethoven, the agreement with the artist and the novelist, their failure to do their work on the Kreutzer sonata? Tolstoy and his story, the book being banned in Russia?

3.The Beethoven sonata as played, in concert, in rehearsal? The placement of the various excerpts throughout the film? Audience response to the music? Bernard Rose’s narrative response to the music and its moods?

4.The framework of the film: Edgar, in the hotel room, his voice-over, lying on the bed, calling the ambulance? His memories? Leading up to the present, his killing his wife?

5.Edgar and his self-image, appearance, wealth, life and lifestyle, self-centred, the foundation and the concern for Africa, his interest in it, lack of interest? Collaboration with his staff, the meetings, at work? His encountering the pianist, the party, flirting with her, her own availability, her relationship with her boyfriend, ditching him? The visualising of the sexual encounters, passion, intimacy? The marriage, the children, the change to ordinary life? Her adapting to domestic life, letting go her career?

6.The pianist, her story, the boyfriend, her behaviour at the party, the story of her career and her talent, the sexual relationship with Edgar, marrying him, mothering the children, adapting to ordinary life, with the children, going out, playing?

7.Edgar and the idea of the fundraiser, to give his wife some possibility of playing the piano? Aiden, his Asian background, coming to rehearse, the time the couple spent together, the effect on the wife, her playing, exhilaration?

8.Edgar, his own comments about his lack of music appreciation, no tunes, the inability to dance to Beethoven’s music? His growing suspicions, paranoia and jealousy? Wanting to trap the couple? Failing?

9.The foundation, the discussions with the representative from Africa, the board and the discussion about how the money should be spent, the report about education in Africa? The visit to Elinore, at played by Danny Huston’s sister Anjelica? The horses, the ranch, going riding, the talk, the foundation? Her awareness that something was wrong with her brother?

10.The performance, society coming to listen to the piano and violin?

11.Edgar, thinking that his wife was lying, his fears, the obsession, not having any grounds for his obsession? Searching the house? His wife going out, his anger? Taking the knife, climbing the stairs, savagely killing his wife?

12.The aftermath, on the bed, watching the television, the pornography, his own behaviour, demented, collapse, phoning for the ambulance?

13.Bernard Rose’s 21st century interpretation of Tolstoy’s response to Beethoven?

ONDINE

Ireland, 2010, 111 minutes, Colour.
Colin Farrell, Alicja Bachleda, Dervla Kirwan, Tony Curran, Stephen Rea, Alison Barry, Emile Hostina.
Directed by Neil Jordan.

The story of Ondine is the old fairy tale of the mermaid saved by a fisherman.

Neil Jordan has gone back to Ireland, where he made his first feature, Angel, almost thirty years ago, and found a way to bring the fairy tale into today's world and give it a wry twist.

This is west coast Ireland, the water, the docks, the village, the hills, a beautiful if sometimes rugged Ireland.

Syracuse (abbreviated to Sircus by the townspeople because of his drinking and being considered something of a clown) has been off the drink for a while but begins to doubt his senses when he finds a drowned women in his trawling net. She does not die. Rather, she revives and depends on Syracuse while wanting no-one to know she is there. Later, someone will speculate that she is illegal.

Annie, Syracuse's daughter who lives with her mother and her mother's boyfriend, suffers from kidney failure. She loves her father who takes her to her dialysis appointments. And he tries to tell her stories. And one about a woman fished from the sea. Annie, who is very well read and uses a quotidian and sometimes erudite vocabulary, thinks of this women as a mythical Irish seal creature, a Selkie, but is down-to-earth enough to go and find the women, who says her name is Ondine.

What follows is a mixture of the faerie and the realistic, with Syracuse still wondering if Ondine is really real. She is soon discovered and has the whole town talking. Syracuse does his talking in the confessional to the local priest (Stephen Rea who makes him a decent and humane priest), not confessing but wanting the confidentiality.

The idyll is too good to last, despite its lyrical moments, and Ondine's past comes to take her back. Quite a few plot developments, some melodramatic, some sad, before some kind of closure can be achieved and, maybe, the fairy tale can come true.

Colin Farrell shows again how versatile an actor he can be and makes Syracuse quite believable. Alison Barry (Annie) had never acted before. Alicja Bachleda (Trade and some Polish and German films) is Ondine and Irish stalwart, Dervla Kirwan, (especially from TV's Ballykissangel days – in which Colin Farrell appeared – is Syracuse's alcoholic wife).

1.The story of Ondine? The mermaid story, the classic, from the sea, on the land, the vengeance against the husband? The role of the woman? Love, spells, remaining on land?

2.The comparison with the Selkie myths, the seals, the women, coming on land? Transformations?

3.The updating of the legends, the modern story, the fairy tale and real life?

4.The west coast of Ireland, the sea, the boats, the docks, the town, houses, the countryside? The Irish tones for the score?

5.Colin Farrell as Syracuse, the nickname of Sircus? The reasons, his drinking, loner, the story of his drinking and his relationship, with Maura, with Annie? Annie’s health, going to the dialysis appointments, telling her stories, taking her to the cottage? A loser, his name, wanting to be called Syracuse? His skill in fishing, trawling, catching Ondine? Believing her story or not, thinking it might be his imagination because of the drink? Bringing her back to life, helping her, talk, her name, loss of memory? Taking her to his mother’s cottage, settling her there, care for her, talk, telling Annie the story about the mermaid?

6.Annie, her love for her father, her illness, the doctors, the dialysis, listening to the story? Suspecting it to be true? At home with her mother, her mother’s drinking, Alex as the stepfather, his gifts? Going to school, library, searching for books on the Selkies (and Syracuse later looking for them)? Her extensive vocabulary? To the cottage, finding Ondine, talking, learning how to swim? The fair and the regatta, her wheelchair, the taunts of the other children, going into the water, the rescue? Her mother and the accident, Alex’s death?

7.Ondine as a person, in the net, loss of memory, saying her mythical name? Relying on Syracuse yet a strong character? Staying in the cottage, helped, going to buy the clothes? Annie finding her? People seeing her, the gossip, part of life in the town, ordinary? The relationship with Syracuse? The Romanian background, the drug mule, putting the drugs in the water, her going overboard? Her being upset with Syracuse drunk, the reaction, swimming, on the island, rescued? The truth and the confrontation with Vlad, going to the cottage, her being a hostage, the shooting? Her pushing Vlad overboard? The end, the wedding – and her not being deported?

8.Maura, her drinking, a poor mother, taunting Syracuse, living with the boyfriend? Irresponsibility? Taunting Syracuse, going to the dance, the accident, in hospital, Alex’s death, the wake, wanting to toast Alex, pressurising Syracuse to drink?

9.Syracuse at the regatta, the possibilities with Ondine, the relationship, the accident, the wake, his drinking, his reaction to the drink, coming to his senses, alienating Ondine, rescuing her?

10.The priest, Syracuse going to the confessional, wanting to talk, the confidentiality of confession, explanations of everything he had done, the priest as a person, sympathetic listening, sound advice, the pastoral concern, the conduct of the funeral? Jogging and finding Syracuse up the tree?

11.The cottage, Ondine as hostage, the guns, the boat, Vlad going into the sea?

12.Annie, burying the bag, digging it up, Ondine not able to find it, the drug money? Future security?

13.The wedding, Syracuse and Ondine happy ever after?

14.The town, life on the west coast, fishing, the bar, the dance, homes?

15.The reality of drugs, the intrusion of this modern story in modern Ireland into the fairy tale?