LEAP YEAR

US, 2010, 96 minutes, Colour.
Amy Adams, Matthew Goode, John Lithgow, Adam Scott.
Directed by Anand Tucker.

For years, American film-makers have mistaken Blarney for the whole of Ireland. And that is what they have done here.

A souffle-light (or whatever the Blarney equivalent is) of a story. Amy Adams wants her partner of four years to propose to her – but he is too busy being Dr Big Cardiologist to get round to it. When her father (John Lithgow) reminds her of an old family story which claims that women can propose to men in Ireland on Leap Day, she flies off to Dublin only to strike turbulence, landing in Cardiff and trapped there by stormy weather. She does the obnoxious American thing to all and sundry and demands to be taken to Dublin only to be appropriately rebuffed by Welsh irony. So, she hires a boat and lands, allegedly, in Dingle.

For the Irish and those who have visited Ireland, the geography of this film makes no sense at all! And, because the film-makers see Blarney instead of reality, there are cosy villages of yore, peopled by characters who have overdosed on The Quiet Man!

Since Dr Cardiologist is not worth proposing to, as will be revealed, there has to be someone else to fill the romantic requirements. And, there is. The manager of the local pub who has a chip on his shoulder but who needs the money and decides to drive the American to Dublin (taking many side roads instead of the highways that could have got them there in five hours, and, perhaps to keep her miserable, bypassing Cork into Tipperary). The film then becomes a kind of It Happened One Night in the Blarney backblocks. Matthew Goode is the driver who will eventually propose.

The lightest of date movies.

1.A popular romantic comedy? American style? Old Irish style?

2.A date movie, romance, marriage and proposals?

3.The Boston setting, affluence, the staging of the apartments for prospective clients, the world of conferences and medicine? Wealthy apartments? The contrast with the plane, the sea, whales, the airport, the Dingle coast, the village, the Irish roads, towns? The feel of Ireland? The musical score?

4.The Irish and the Quiet Man style caricatures? The unrealistic geography? A fantasy island?

5.The title, Anna and her father’s story, Anna and Jeremy and their relationship, his going to Dublin for the conference, her decision to go to Dublin, her intention of proposing on Leap Year Day?

6.Anna’s story, her job and being well organised, the staging, the inquiries wanting to buy because of the atmosphere she created? Her relationship with Jeremy, communicating with him, his professional attitude, meals, answering his phone, giving information about surgery? Her friends seeing him coming out of the jeweller’s? Rehearsing for the engagement acceptance? The gift of the earrings, her reaction, his having to go? Meeting with her father, the back-story, his spendthrift ways? The decision to go to Ireland?

7.On the plane, talking to the priest, his going to sleep, the turbulence, landing in Cardiff? The American tourist and her bombastic approach to the staff? Getting a boat, at sea, landing on the stormy beach?

8.An American in Ireland, the accent, high expectations and demands, a colonial attitude? The pub, talking to Declan, asking about the phone, the old man and his comments, Declan and the joke with the phone, her room, small, recharging the battery, the catastrophe in the room?

9.Declan and his type, the way that he treated Anna, the cynical touch, the photo, his debt, agreeing to drive her to Dublin?

10.The film becoming a road movie, the backroads and backblocks of Ireland? Avoiding all the contemporary freeways? The two talking, harsh attitudes towards each other, the radio on and off, the road blocked by the cows, Anna and her moving the cows, getting the manure off her shoe, the car going backwards, crashing? Getting lifts, the men stopping, her suitcase, robbing her? Later encountering them in the pub and Declan fighting and her getting her case back? Her referring to it as Louis for Louis Vuitton? Waiting for the train, going up to the top of the castle, the beauty, the rain, missing the train? The railway man and his taking them to the bed-and-breakfast, the assumption that they were married, the single room, the humour about the bed, the shower? Sharing? Getting the vegetables from the garden, cooking? The Italian guests, the happy meal, the importance of kisses and Anna and Declan having to kiss?

11.Going to Dublin, Anna paying? Declan and his wanting to see his former girlfriend, the meeting, getting the ring back?

12.Meeting Jeremy, the previous phone calls, his attitude, detached, the engagement and his reasons, offhand? Pragmatic? The return to Boston, the lavish apartment, the party, Jeremy and his explanation to his friends about marrying Anna? Her using Declan’s process of having sixty seconds with a fire alarm and deciding what was most precious to take? Jeremy failing the test?

13.Declan at home, meeting his girlfriend, the ring, prospering, the bar, the debt collectors coming, the collection to pay them off?

14.Anna in the pub, Declan being offhand, her going to the cliff, disappointment? His rescuing her, the proposal, the happy ending?

BATTLEGROUND

US, 1949, 115 minutes, Black and white.
Van Johnson, John Hodiak, Ricardo Montalban, George Murphy, Marshall Thompson, Jerome Courtland, Don Taylor, James Whitmore, Leon Ames.
Directed by William A. Wellman.

Battleground was acclaimed as a fine World War Two film. It recounts events in the Battle of the Bulge, especially the defence of Bastogne in the winter of 1944-45. The film shows a small platoon as part of the overall battle, the wintry conditions, the camaraderie amongst the men, the infiltration by Germans disguised as American troops.

While the film seems commonplace, in retrospect it was significant to have a film of such repute so soon after the events. MGM used a lot of their character actors in the film, led by Van Johnson, a change from his comic or singing and dancing routines. John Hodiak is a serious presence. Ricardo Montalban was at the beginning of his American career. George Murphy had been a song-and-dance man and was to leave films and become Governor of California. Don Taylor was to become a prolific director of films and films for television.

The film, in stark black and white, spends some time on the characters and then shows the detail of day-by-day action, inaction, lack of information, confrontations, fighting with the Germans.

The film was directed by William A. Wellman who twenty years earlier had directed the first Oscar-winning film, Wings. He spent some time in France with the Lafayette Escadrille during World War One.

1.The impact of the film in its time, acclaim? So soon after the events? In retrospect?

2.The black and white photography, the French locations – all on the MGM back lot? Authentic feel? France, the winter? The musical score?

3.The strong cast, the MGM stars and character actors?

4.A very male film – but with the presence of Denise, the children in the village, Denise and her help, reappearance at the end? The other women helping with the wounded?

5.Audience knowledge of the Battle of the Bulge, the ending of World War Two? The American presence, the advance, the strong defence by the Germans? On the ground, in the air? The long siege of Bastogne?

6.Van Johnson as Holley, the typical American, loud, a leader, interactions with Denise, with the other men? In action? His suspicions of the Germans disguised as Americans? Personal feelings, fighting, the experience of the war?

7.Jarvess, the serious man, the reporter, his knowledge of French and German? His contribution to the fighting?

8.Rodriguez, California, Latino, cheerful presence, wounded, death?

9.Jim Layton, the earnest young man, his deference to the veterans? His presence during the battles?

10.Pop, his death? The other men? Characters differentiated? Interesting? Kinnie as the sergeant major, the opening of the film and the detailed drilling? His chewing? His supportiveness?

11.The chaplain, the ceremony, interfaith, his comments about celebrating for Jews? His comments about the righteousness of the fight against fascism? His support of the men?

12.The American tone of the film? The patriotism of the period? Comparisons with later wars, later war films?

SOLOMON KANE

UK, 2009, 104 minutes, Colour.
James Purefoy, Pete Postlethwaite, Alice Kriege, Mac Kenzie Crook, Jason Flemyng, Rachel Hurd- Wood, Patrick Hurd- Wood, Geoff Bell.
Directed by Michael J. Bassett.

In these years of comic book hero films, here is another who was the brainchild of Robert E. Howard, the creator of Conan (and who was played by Vincent D'Onofrio in the biographical film on Howard, The Whole Wide World).

The difference with Solomon Kane is that he is located within British history rather than in a fantasy era like Conan. The world is barbaric but it is the Elizabethan and Jacobean world (which, as Shakespeare's plays of this time, was a brutal and violent period).

According to this story, Kane served with Drake and became a mercenary. The film opens with him defeating Moors in Africa and then being confronted by demons and devils. He makes a pledge to redeem himself and become a man of peace. He does this in a puritan way, especially as he travels with a Puritan family on their way to leave for America (Pete Postlethwaite, Alice Krige and Rachel and Peter Hurd- Wood). Somerset and Devon are in turmoil with magicians holding nobles in thrall and bands of thugs, possessed by evil, roam the land and attack the innocent.

Solomon's dilemma is whether he should defend the family when it is attacked and their daughter abducted or break his vow of peace and risk hell. Of course, he does, only to find that he is confronting his brother and a mad and powerful sorcerer (Jason Flemyng) who has imprisoned his father (Max Von Sydow). Finally, he must fight a gigantic and fierce demon.

This one is quite good of its kind. It has a familiar but reasonable story line. It is always fascinating as it locates itself in British history. There is enough sword and sorcery for the fans. And it has a better than average British cast led by a sturdy and grim hero played by James Purefoy.

1.Adaptation of a 1930s comic book hero? A hero in need of redemption, a saviour?

2.The work of Robert Sherwood, the 30s, Conan? Sword and sorcery stories? Barbaric contexts? Yet 17th century England, the Puritans? The parallels between the mythical and the real worlds?

3.The religious background, the Reformation, Drake and Elizabeth I, James I and the prevalence of witches? Sorcery? The Puritans? Their ambitions to go to America? The war in south-west England? Christianity, paganism? The blend?

4.The English landscapes, the coast, the forests, castles, isolated, eerie?

5.The pounding score and its atmosphere?

6.Action, the opening, Africa, the Moors, Christian prejudice against the Moors, fighting? The search for treasure? The castle, the followers, their being taken by the demons? Setting the town for the film?

7.Kane as a leader, his pirate life, his leadership of the men, the confrontation with the Devil, his soul, the possibility of redemption, to be a man of peace?

8.The changed Solomon Kane, in the monastery, his being urged to leave? The flashbacks for his memories, his interactions with Marcus, his father, walking out on his family, his father disowning him, the clash with Marcus on the cliff, rescuing the girl, Marcus’s fall, Solomon’s sense of guilt?

9.The progress of the pilgrim, overtones of John Bunyan and Pilgrim’s Progress? The 17th century tones? Meeting the family, the Puritan fervour? Travelling across the land, the intention of going to America? God-fearing? William a good man, offering Solomon the lift, saving his life after the attack, his wife’s kindness, Meredith and her concern, attraction? Samuel and his wanting to emulate Solomon, the talk, the play swordfighting? The bonds between the group? The possibility for redemption?

10.The attack of the Brutes, accosting Solomon, his not wanting to fight – and the later encounter with them after they had killed the priest, Solomon killing them?

11.Malachi and his not being seen, the masked man? Control, magic, the masked man and his ability to turn his followers into his slaves, the visuals of their changing faces and heads? The witch, the story of the little girl, marking the hand of Meredith? The plan to lure Solomon back to the castle?

12.The attack on the family, the fight, Sam and his urging Solomon to attack? William and his death, Solomon’s promise that he would search for Meredith? Meredith and her being captured, Sam’s death?

13.Solomon lost, in the inn, drinking, thinking Meredith was dead, that he had failed? That he was not a man of peace? Telford and the rebels? Wanting Solomon to lead them? His refusal? The rounding up of the rebels, their being crucified, Solomon and the bolts in his hands, lifted up crucified? The crucifixion imagery – and its recurring, especially in the chapels as Solomon sees Christ crucified? His seeing that Meredith was still alive, getting free, searching for her?

14.The priest, the ruins of the church, talking with Solomon, explaining Malachi and what had happened, his congregation, the Living Dead in the cellar, pushing Solomon in? Solomon fighting them? The Brutes and their killing of the priest?

15.The rebel group, Solomon’s leadership, getting inside the castle? The fights?

16.Solomon finding his father imprisoned, his father telling the story, Marcus alive, Marcus as the masked man? His father wanting to die – already dead? Holding the gun and Solomon pulling the trigger?

17.The vast room, Malachi and his appearance, the confrontation with Solomon, Meredith in the cage, trying to set her free, the trap? His brother, Solomon unmasking him? The clash, the fight, the brother destroyed by fire? The death of Malachi?

18.The final confrontation, the monstrous devil creature? Solomon committing himself, prepared to lose his life, freeing Meredith?

19.A comic book hero – and the blend of history and myth?

MISSING MAN

Russia, 2010, 100 minutes, Colour.

Missing Man is what might be called an existentialist drama. It opens in some of the drabbest locations in St Petersburg and focuses on a computer programmer and his meeting with fellow workers. However, the plot then lapses and focuses solely on the man. He is in his forties, alone, his family living upstairs. He meets the son of his neighbour who has also been missing. What follows is a nightmare of bureaucracy as he is treated with some suspicion having met the missing young man, he is asked to sign a declaration that he will not leave the city, returns home to find everything that he owns moved and the building being demolished. The nightmare intensifies as he travels to the alleged new situation where he has been assigned, finds that there is nothing there, goes to the police, escapes from the police with a young man who is being charged, finds a shelter, has to work in the fields, suddenly has to escape in a car with the group, and manages with them along the road. Finally he has to make some decision as to who he is and where he is going.

With the clues given during the film, especially about the madness of bureaucracy, the offhandedness of officials, windows in offices and their being closed, the police and their pursuit…, the film is reminiscent of Kafka. Audiences will not be surprised to find a quotation from Kafka at the end – about the meaning of the journey of life, identity and choices.

1.A Russian film, grim, the focus on the individual, work, family, community, society?

2.The drab suburbs, the countryside, the towns? The musical score?

3.The title, the son of the neighbour, Leonid himself?

4.The atmosphere of Kafka, offhand authorities, lack of information, bureaucracy, treatment of people, mystery?

5.The film as existential, the man alone, the questions of his own identity, his reaction to treatment, crises, the dependence, the stages of the journey, uncertainties, choice?

6.The quotation from Kafka at the end, the road, continuing on the road? The meaning of life?

7.The setting, dingy, Leonid and the audience not knowing his name until the end? His walking from his apartment, in the crowded street (and the final image of the crowds in the street)? His meeting, discussions about his work, his expertise, the job, the company, the people at the table, catching a bus, the notes given him, the phone numbers? The young man and his giving Leonid the letter and the photo for his mother? Disappearing on the bus?

8.Home, the woman and her son, her petition about moving, the arrival of the police, the interrogation, the disappearance of the cat and the policeman crying? Going upstairs to get vodka from his sister for the police, their moving, his father, the declaration? His having to sign the declaration about not moving from the city?

9.The meeting in the club, writing the document, his being paid? Going to the office, the offhand treatment, window number five and the treatment?

10.His return, the house being demolished, his goods disappeared, the rebuke that he didn’t look at his mail and find out that the building was being demolished? On the train, searching for the house, not finding any building?

11.The police, another window five, David and his arrest, the escape, the car, paying?

12.The shelter, crowded, the men disappearing during the night? The man with the heart condition? Anatoly, and Nina? David and the police?

13.The work in the fields, picking the potatoes, having to run, packing the car, leaving the man with the condition behind, Velya driving, paying for the petrol, the police chase but their not pulling over?

14.The purpose of the journey, the personalities and their assurances? The city, the theatre, their being hidden behind the stage, the meal, the boss, Nina and her tantrum?

15.Leonid giving his name, his decision to stay, an affirmation… of what?

16.The quotation from Kafka, another crowd scene and the individuals in the crowd walking along the street? A symbol of life?

MAMMUTH

France, 2010, 90 minutes, Colour.
Gerard Depardieu, Yolande Moreau, Isabelle Adjani, Miss Ming.
Directed by Benoit Delepine, Gustave Kervern.

Mammuth is a small film, a star vehicle for Gerard Depardieu. Perhaps there is no leading actor in the world who is able to show his ungainly self without embarrassment on screen. This is particularly true of Mammuth. He plays a sixty-year-old worker in an abattoir for forty-five years who retires. He has never been sick, he has never missed a day. However, they give him a jigsaw puzzle as a parting gift and chew crisps while the boss is making his farewell speech.

At home, he feels idle, counting the cars that pass by. Yolande Moreau (Serafine, Micmacs) – and not far behind Depardieu in presenting in an ungainly style on screen) is his wife. He goes on his Mammuth motorbike to check on documents from employers from his past so that he can get his full pension. He is accompanied, imaginatively, by his girlfriend of the long-distant past who was killed in an accident (Isabelle Adjani).

The film is a road film, Mammuth (he gets his name from his motorbike) travelling around the countryside, meeting quite a range of people including a rather odd poetic niece. The experience changes him and prepares him for his years of retirement.

The directors also made the offbeat film, Aaltra, a road movie from France to Finland.

1.An offbeat film, comic and serious, a film about age, work, retirement, pensions, marriage?

2.The video photography style, the blurred countryside, the whirr of vision from the bikes, the hand-held camera, low-budget, home movie?

3.The town, the homes, the abattoirs, the open road, the variety of workplaces? The score?

4.The blend of realism and fantasy, the memories and flashbacks, the dreams, the poetry?

5.The strong cast?

6.The farewell to Mammuth, forty-five years, hard labour in the abattoirs, never sick, strong, carrying the carcasses, cutting them? Hard work? His professional knowledge of meat? The talk, the boss’s speech, the toast, the fellow workers chewing chips? The jigsaw puzzle and his wife’s reaction? His wife, age? His retirement, pace, walking round the house, watching and counting cars pass, the issue of pensions, going shopping, his wife not able to take his money because of policy, his chatting at the counter about the meat and the reaction?

7.His wife, her age, an old couple, weatherbeaten, working at the market, not wanting to work on the fish counter, the differences? Money difficulties? Urging Mammuth to go to the former bosses, get out the bike, her work, customers? The stealing of his mobile phone, her anger, discussions with her friend, their driving to get revenge, intentions and reality – not knowing where the thief was?

8.Mammuth, getting out his bike, the memories of his girlfriend, riding carefully on the road, the growing exhilaration?

9.His imagination, his girlfriend, her wounded face, the reality of her death, ever-present to him, speaking and guiding him?

10.Meeting his niece, her being different, meeting her friends? Her poetry, art, advice, love, family?

11.The employers and their range, the different jobs, security, the carnival, factories? Taking the cabinet with the documents and the wind blowing them away, his search in the field? Forty-five years and the man who wanted a sexual favour? The memories of his past work experience?

12.The niece, her friends, the effect, his camping out, the bath in the river?

13.His wife searching for him, his return – and hopes for a fruitful retirement?

EXIT THROUGH THE GIFT SHOP

UK, 2010, 87 minutes, Colour.
Banksy, Thierry Guetta, Shepard Fairey, narrator: Rhys Ifans.
Directed by Banksy.

In the UK and, according to this eccentric documentary, street artist, Banksy (a hooded figure who speaks with an echo and has a grip on and is articulate about popular culture) has a strong, if at times, controversial reputation.

He puts an emphasis on the fact that he is not a film-maker and that this film came about a bit by accident and is more of a film about an even more eccentric character, Thierry Guetta.

It is a blend of documentary and mockumentary – at times reminiscent of a Christopher Guest film only a lot of this is true – or is it?.

At first, we have ardent disciple, Thierry, with his video camera on the loose in LA (where he has moved from France). He gets an interview with Banksy and follows up filming (and getting caught and questioned by security) in a theatrical art event critical of the US and Guantanamo, staged in Disneyland. Thierry then records the preparation for Banksy's successful LA exhibition which helps street art become both trendy and pricey.

Banksy suggests to Thierry that he edit a film from his hundreds of tapes. It results in a 90 minute film of arbitrary selection and intercutting of art and events that is avant garde and unwatchable (Banksy's verdict). So, Banksy suggests that Thierry get into art, not realising he is encouraging Thierry to turn into a kind of Frankenstein art monster of ambition and celebrity. Thierry chooses the street art name of Mr Brian Wash and organises the exhibition to end all exhibitions. Thierry loves his fame, bestows interviews, is shrewd in business, hires companies to mount the exhibition which, against all odds, opens on time and becomes a huge LA event.

So, there we have a slice or art life – sincerity, phoniness, pretension and pomposity and some quite arresting work (playing with Warhol portraits amongst other experiments). Many exited via the gift shop and shelled out for collector's items.

1.Interesting and entertaining documentary? Mockumentary? Interest, the effect? Art, celebrity, personalities?

2.The construction of the film: Thierry and his migrating from France to California, his jobs, His motivation, recording Banksy, the exhibition? Banksy as wary? Urging Thierry with his artwork, the result, the consequences?

3.Rhys Ifans’ narration, the tone?

4.The voice-over and Banksy? Banksy himself, remaining in the shadows and hooded? His voice, tone? His fame for street art, his praise of street art, his attitude towards graffiti and creative art? Pop and popular? A celebrity himself? His interviews? The encounter with Thierry, the follow-up, bonds between them? His display at Disney World, the Guantanamo protest? Thierry and his being arrested by security? Banksy and the phone call? Banksy and the elephant for his exhibition, the painting of the elephant, the media’s response, criticism? Banksy’s exhibition in Los Angeles, a success? The prices paid for the artwork? The glimpses of celebrities like Brad Pitt and Angelina Jolie? The media response? Banksy’s career? Banksy’s personality, clothes, his verdict on Thierry?

5.Banksy and the influence on Tierry? Thierry and his wife? The background in France, family, job, his continually videoing everything, videoing art, the many tapes? Devotion to Banksy, Banksy’s offhand recommendation that Thierry be involved in art? Following the Disney episode and his being interrogated, the exhibition, becoming an enthusiastic disciple? His editing his footage?

6.Thierry’s film, ninety minutes, random putting together of images, the method, unwatchable? Banksy’s negative reaction?

7.Thierry and his ambitions, becoming Mr Brainwash? His art, using Warhol and other pop art, variations on the theme? The huge warehouse and his getting it? Mounting the exhibition? The different crews? Work, the media response, LA Weekly, the last-minute preparations, hurting his foot, becoming more bossy, taking time off for the media? Yet the exhibition a success, lasting longer than expected? The prices for the work – and Thierry’s arbitrarily suggesting prices?

8.The interviews with Thierry, perceptions of him?

9.The aftermath, the information about him – and how real was all this?

EN FAMILIE (A FAMILY)

Denmark, 2010, 100 minutes, Colour.
Lene Marie Christensen, Jesper Christensen.
Directed by Pernilla Fischer Christenson.

A Danish family. Their ancestor once walked from Germany to Denmark with a sack of flour on his back and started a bakery which flourished and is now, by appointment, supplier of bread products to the royal family.

The focus, however, is on the younger generation. Ditte (Lene Marie Christensen), who is a talented gallery director, is being offered a prestigious art position in New York City. Her partner, Peter, an artist, is supportive of her.

Two crises arise which challenge Ditte. She is pregnant and faces the question of career and abortion vs having a child. Once again, Peter is supportive though he feels Ditte is dominant in her decision-making for them.

Secondly, her father (Jesper Christensen) who has brought the bakery to its present successful status has been cleared of lung cancer after a year of treatment, but soon collapses with brain tumours. Should Ditte stay during her father's illness and death? And, what if his wish is that she should give up her ambitions and take over the management of the bakery? The audience is drawn into the detail of the life of the family: Ditte's sister (who was not asked to manage the bakery), the father's partner with whom he has two young children.

Because of the detail and the emotion, the audience is made to ask itself how they have managed our would manage in such life/death situations. There is a particularly long death and preparation for burial sequence (echoes of Ingmar Bergman) that gives audiences time to feel and think – especially if they can ignore the background song with its appalling lyrics, 'what is the truth behind your innocence', which makes no sense at all in the context and which is repeated and repeated. It does not destroy the film but it is a great pity to spoil the serious presentation of death and the response of the family. The film does end with some moments indicating hope.

1.A Scandinavian family? In the tradition of Scandinavian films and Ingmar Bergman? Contemporary perceptions?

2.Copenhagen, the city settings, realism?

3.The collage of the family history, the home movie style, visualising the grandfather, the next generations? The titles? The history of the grandfather, his trek from Germany, the sack of flour? Rickard and his success, building up the company? His children, his divorce, his companionship with Sanne, the next to children? The genealogy leading to Ditte?

4.The life of the family, its traditions, achievement, expectations, the generations? Following in parents’ footsteps or not? Love and tender relationships, strong stances? Illness and ageing? Controlling or letting go? Standing one’s ground for refusals? Treatment of cancer, handling illness? Death, preparation for burial? The issues of children, abortion, career? Final love and hope? The explicit rejection of church?

5.Ditte as a person, the conversation with Amber in New York, peter and his support, the potential job? Prestige? Love for Peter, pregnancy, their agreement about the abortion, the job, going to New York City? The either/or and Ditte’s strong stances? The decision, the experience of the abortion, her pain? Peter and his puzzle about her decision? Her father, his being healed of lung cancer, the family joy, the response of the family? The plan for the marriage, Ditte being maid of honour? The reception, the family happy? The plans, the tumours in the brain? Ditte’s dilemma, her love for her father? Suggestion that Peter go by himself? The treatment of the father, his wilfulness, at home, Ditte watching, his asking her to manage the company? Her dilemma, discussions, with her sister, with Peter? Her rejecting her father’s offer, his sullen reaction? His going to hospital, taking the taxi home, demanding to be at home? Urging her to speak at his funeral, explaining what he wanted said? Sanne and Rickard at home? Chrisser and her not being asked to do the job? Peter and the possibility of separation? The final meal, the sexual encounter, hope? Portrait of a young woman?

6.Peter, artist, partner for Ditte, a good man, supportive, letting Ditte decide, his studio in Brooklyn, his reaction to the abortion, his lack of contributing to the decision? At the wedding? His fears, being hurt, the influence of Ditte, staying?

7.Rickard and his career, marriage and divorce, healing, the decision to marry Sanne, love for his children? His joy and the proposal, the wedding ceremony? Ditte and her going to New York, his urging her to go? His collapse, hospital, tantrums, taxi home, treatment, his dependence on Sanne? His decision about the firm, asking Ditte, her refusal and his turning his back on her, the company and his expectations, royal prerogatives, his own hands-on work, with Sanne? The hospital, going home, the long death scene? Ditte’s speech for his funeral?

8.Sanne and her companionship, mother of his children, a good baker, a year helping him in his illness, the proposal, the wedding ceremony, his collapse, her inability to look after him? Her grief? Preparing the body for burial?

9.Chrisser, her relationship with her father, with Ditte, her commenting that she had not been asked to run the firm?

10.The young children, the boy, his questions? The girl and her seeming offhandedness? Present at their father’s death?

11.The dying, everybody present?

12.The preparation of the body for burial, the ritual and its importance? The place of the song and the lyrics, ‘the truth behind the innocence’? Inappropriate?

13.A portrait of a family? Audiences identifying with it – or not?

THE KILLER INSIDE ME

UK, 2010, 115 minutes, Colour.
Casey Affleck, Kate Hudson, Jessica Alba, Tom Bower, Ned Beatty, Simon Baker, Bill Pullman.
Directed by Michael Winterbottom.

The title might indicate some caution to audiences who do not like murder thrillers and whatever violence they might portray. Murder will out. And here it comes out very brutally – twice.

The reason for mentioning this first – though it should not have to be said for an audience who understands films and how they work in their conventions of storytelling – is that there was some uproar concerning the tone of and reasons for showing these brutal actions and so viscerally. Because the violence was perpetrated on two women, some comments were made that film was misogynistic. (A film showing Catholics being martyred by vicious authorities is scarcely anti-Catholic.) This violence against women is shown as abhorrent in the plot and condemns the brutal beater as mentally disturbed. Director Michael Winterbottom suggested that any other reading of the sequences would be perverse.

It is the question of that distinction between what is shown and how it is shown that is always important. There is a context here – the portrait of a deeply dysfunctional man. Whether the scenes in question are too long or are too much is always a matter of personal sensitivities and debate: what is too much for me may not be too much for the person next to me and the question arises whether my sensitivity is superior to that of the next person or just different, and who imposes the sensitivity norms? (Not all of us, to take a neutral example, are able to watch surgery procedures.)

Michael Winterbottom said that he stayed close to Jim Thompson's novel and that the rhythms of what is presented is his judgment and his editor's work.

It seems that there is a 'fundamentalist' approach to the presentation of sexuality and violent sequences on screen
sometimes by earnest and devout people who concentrate over-literally on the immediate content, the 'what', without spending reflection on the context, the 'how' and move immediately into protest and campaign mode.

It is often said that much should be left to the imagination – and that opinion has great value. On the other hand, faced with harsh or repellent images of reality, the imagination might not work. It blocks. It avoids. It can refuse to imagine or go beyond a brief suggestion of the sexuality or violence.

And, the film itself. Very well crafted, an arresting adaptation of the Thompson novel. It is a film noir – very noir despite the bright West Texas sunlight back in those days where the film is set. Thompson died in 1952. The British Winterbottom brings an outsider's perceptions to this basic American story, the madness that sometimes underlies the surface innocence and respectability and erupts unexpectedly and brutally.

Performances are striking. Casey Affleck, plays the young policeman, fresh-faced and unsuspicious, who harbours deep secrets, abusive experience in his family, and who lets go, even against those he loves, leading to a climax in the vein of much American literature, a fiery apocalyptic consummation.

Affleck is in every scenes and shows how effective he can be as he did with his Bob Ford assassinating Brad Pitt's Jesse James. Here is another Ford, Lou, who loses control of himself sinisterly, shrewdly and destructively. Jessica Alba is striking, Kate Hudson less so, mostly a foil for Affleck. A strong supporting cast brings to life the local sheriff, tycoons, wastrel sons, investigators, union leaders: Ned Beatty, Tom Bowers, Elias Koteas, Simon Baker, Bill Pullman.

So, this is genre material for a psychosexual case study. It is an American story. The US is a land of serial killers, impulsive mass shooters who make regular headlines as they break out. This has to be faced by American audiences and The Killer Inside Me and its issues may be a brief but properly challenging experience.

1.The writings of Jim Thompson, his reputation, literary, insights? A genre writer? The film versions of his stories?

2.West Texas, the 1950s, Center City? The town, the police precinct, homes? The desert location? The contrast with Fort Worth? Atmosphere, score?

3.The title, Lou, his voice-over? The events, his feelings, the facts, the explanations, his seemingly innocent, devious, narcissistic? The abuse by his mother as a child, imitating the abuse with women, even of loved ones? His rage and its coming out? His death wish?

4.The introduction to Lou: a pleasant young man, explaining Center City, the traditions, his family, West Texas? Ordinary America of the 50s? The police, his role as a policeman? Ordinary? Bob as his boss, cooperation? His job? Going out to see Joyce, to evict her from the town? His authoritarian attitude, her slapping him, his punching her, the sexual encounter, slapping her as he had to do with his mother? The bond between them, his falling in love? His character, change, the visits? The set-up with Conway and his son, Lou’s plan, bashing Joyce, killing Earl, the gun and the set-up? Taking the money? The flat tyre, his escape? Coming to Amy? Conway and the discovery of the bodies and his stances?

5.Conway, his discussions with Lou, concern about his son, the meetings with the son, the son’s attitudes? Money issues? The plane, taking Joyce to Fort Worth, on the plane, sleeping, Bob and his drinking? His not going to the hospital? The news of Joyce’s death? His amazement at Fort Worth, getting the train home, Bob and his comment about the light before the dark?

6.The relationship between Lou and Amy, going on for years, her visits, sexuality, his using her? Love? His beating her in a similar way? The proposal, that they elope? His bashing her? The knife and the vagrant set up as killing her? Lou chasing him in the street, Jeff shooting him?

7.Lou and Conway, the plan, the money, Earl? The investigations and the uncovering of the plot?

8.Joe Rothman, the unions, the connections with Conway, the building sites, Rothman telling Lou about the suspicions of his brother’s death, that the brother had been set up by Conway? Rothman knowing the further developments, his hold over Lou? Sending his agent, his agent ranting in the institution, driving Lou away, talking with him, accusing him?

9.Bob, his role as sheriff, a good man, drinking, believing Lou, the investigations, his hanging himself?

10.The bar, the owner and his gratitude to Lou for helping his son? Johnny, the job, his arrest, interrogation, Lou visiting him in jail, the sinister discussions, Johnny hanging himself?

11.Howard, the investigator, the issue of the tyres and the prints, his theories, interrogations of Lou, accusing him? Coming again at the end, seeing the house go up in flames?

12.The vagrant, Lou burning the cigar on his hand as he asked for money, the vagrant overhearing and knowing what happened? The blackmail of five thousand dollars, Lou getting him to return, Amy dead, the pursuit in the street, his being shot?

13.Jeff and Howard, the arrest, Lou in the cell, the days, his time to think, plans, covering himself? His reaction to Bob’s death?

14.Going to the institution? The flashbacks to his relationship with his mother, the sexual provocation, the beating? With the little girl, his brother finding him? The little girl identifying his brother? Lou setting up his brother for death?

15.Getting out, with the agent, bluff and bland, going to the house, pouring the petrol? The shock of discovering that Joyce was still alive, his reaction, her declaration of love and not telling the truth about him? Setting the fire, Lou and Joyce being consumed? The apocalyptic fire at the end?

16.The accusations that the film was misogynist, too brutal? Michael Winterbottom saying that he wanted to remain faithful to Jim Thompson’s novel? Audiences and the psychosexual case study – and the need for some kind of visualising of this brutality to understand what happened and the character?

PLEIN SUD

France, 2010, 90 minutes, Colour.
Yannick Renier, Lea Seydoux, Nicole Garcia, Michelin Presle.
Directed by Sebastian Liefshitz.

Plein Sud continues the theme of Sebastian Liefshitz’s films. He focuses on young men, their journeys, their discovery. His La Traversee won a SIGNIS award for its portrait of a young man from France going to America to search out his father.

This film focuses on a young man, disturbed, introverted. He takes three passengers on his trip to the south. They are young, wilful, obnoxious. The girl, pregnant as we see at opening of the film, is unsettled and capricious. Her brother is trying to understand his sexuality. The other young man is quite ordinary, but out for a good time.

As the four go on the road, flashbacks are inserted about the driver’s past life, grim facts including the suicide of his father and the institutionalising of his mother. It has had an effect on him and he is on his way to see his mother, released from an institution after twenty years. The film also challenges him as regards his identity, his sexuality.

1.A French perspective, the younger generation, relationships?

2.A road film, the journey, the towns, camping out, the coast, Spain?

3.The landscapes, the ocean, the water, the pounding waves? The final river?

4.The title, the journey, Sam’s quest?

5.Sam as central, his car, the purpose of his journey? Picking up Matthieu and Lea, interacting with them, the initial video taken by Matthieu, Lea provocatively dancing? The sexual issues? His neutrality? Matthieu and the kiss? Driving, picking up Jeremie, the discovery of the gun? The purpose of the gun, Sam as morose? Calling in to see his brother, their talking about their mother, memories? The brother allowing the group to stay in the yard? Sam’s life, memories? The camping, Jeremie and Lea with the gun? Waiting for Lea impatiently? Letting the group off at the bus stop? At the sea, the young people on the beach, the night, Matthieu and sex, his leaving, Matthieu chasing him? Going to Spain, finding his mother, his reactions to her, in the light of his memories, his walking to walk with her, his decision to leave? His contemplation by the river, throwing the gun in the river? Stripping, diving into the water, being cleansed, floating, to…?

6.The flashbacks and their insertion, the mother and father in the car, the mother and her tantrum, the father suddenly shooting himself? Sam watching as a boy from the window? His looking at his father’s embalmed body, fingering the bullet-hole? The two boys watching, the younger and the older, playing swords? The relationship with the grandmother and the walk with her? The boys being separated, Sam fostered, the discussions with Lucie, her mother? His mother’s visit, wondering whether she would take him away or not? His memories of his mother talking to herself, calling Alex Harold and the bath? Their plea for her to stop talking to herself? The character of the father, his love, putting on Sam’s coat, his silence? The mother and her madness, in the institution, twenty years, allowed out, the job, the friend, the medication? Her honest talking to her son?

7.Alex and his life, settled, job, girlfriend, separated from his mother?

8.The group, idle, wilful, bored, sulking, obnoxious? Young people and the music on the beach?

9.The opening with Lea, the foetus? Her lack of decision about the future? Her dancing, flirting, Jeremie and the relationship? Her moods, walking on the beach? Her choices about a child and giving birth?

10.Matthieu, sex, brotherly concern for Lea, with the video camera, taking everything? With Sam, the experience, chasing him?

11.Jeremie, ordinary, relationships?

12.A film of insight and understanding?

ROMPECABEZAS (PUZZLE)

Argentina, 2010, 88 minutes, Colour.
Maria Onetto, Gabriel Goity, Arturo Goetz.
Directed by Natalia Smirnoff.

Puzzle is a small Argentinean film, focusing on a fifty-year-old woman. She is at the service of everyone – but relaxes with jigsaw puzzles and she is quite adept. Her husband doesn’t understand this and thinks it a waste of time.

The film focuses on the woman herself, played by Maria Oneto (in Lucrezia Martel’s The Headless Woman) and brings dignity to her performance. She buys another jigsaw puzzle and sees a notice about a tournament. She makes enquiries and joins a middle-aged man in practising for the tournament which, eventually, they win. This has repercussions on her relationship with her husband whom she loves, with her children, and her feelings towards her partner in the puzzle competition.

1.A small film, intimate, feminine?

2.Argentina, Buenos Aires, ordinary life, homes, the tournament, the holiday at the lagoon? The musical score?

3.The title and the focus?

4.Maria, seeing her busy, cooking and serving, her guests, spilling things, putting the plate together again, her own birthday?

5.The family: Juan, busy, loving, offhand, critical, in the shop? Their sons and their plans? Juan and his tai chi and her not understanding it? The decision to sell the property to give the money to their children?

6.The weekend away, Juan’s reaction to the tournament, her reaction to the tai chi? The enjoyment of the weekend?

7.The skills with jigsaw puzzles, the time, buying the new puzzle, the tag, going to the shop and the woman sending the email, the phone call? Meeting Robert? The plan, the practice, the rivals coming and their comments? Her different method? Robert kissing her and her reaction? The book about Egypt, their talk, her reading the book, finally putting it in pride of place?

8.The family and their reaction, the sons and their agreement? The news that she had won, the meal, the trophy and her showing it to them?

9.Enrolling, playing, her initial hesitation, winning, the drink, staying with Robert, the encounter with him, going home? Her love for her husband?

10.The final visit, her decision, not using the ticket but putting it away? Portrait of a middle-aged woman?