MARVIN'S ROOM

US, 1996, 98 minutes, Colour.
Meryl Streep, Diane Keaton, Leonardo di Caprio, Robert de Niro, Hume Cronyn, Gwen Verdon, Victor Garber, Dan Hedaya.
Directed by Jerry Zaks

Sisters Bessie and Lee have not been in communication for twenty years. Bessie has remained at home caring for their father Marvin, and their childlike aunt, Ruth. When Bessie is diagnosed as having leukemia, she is told that a bone marrow transplant from a healthy relative will help her.

Lee lives with her son Hank and attends a college of cosmetology. Hank is disturbed and has tried to burn down their home. He has been in an institution. She decides that it would be something of a relief to go to Bessie.

The reunion is amicable and Lee has the test. However, Hank is unwilling. Eventually he does have a test. Difficulties soon arise. However, Bessie and Hank get along very well and when Hank runs away, he leaves a note for Bessie rather than his mother.

When all the tests prove negative, Bessie resigns herself to her illness and looking after the family. Lee wants to return home, but Hank confronts her and they decide to stay.

Marvin's Room is set in Florida, but it is also `Secrets and Lies' territory. The family conflict here is not as intense and is more briefly, and sometimes more sketchily, portrayed. However, it touches on pain and regrets, especially between two sisters who have not seen each other for almost 20 years.

Diane Keaton gives a sympathetic performance as Bessie, the sister who has never married and who has stayed to look after her senile and bed-ridden father (Hume Cronyn). Meryl Streep is the callow Lee who has tried to make a life of her own but cannot communicate with her emotionally disturbed son (Leonardo di Caprio). It was Diane Keaton who received an Oscar nomination rather than Meryl Streep. Robert de Niro has something of a cameo role as the sympathetic doctor.

The play and screenplay were written by Scott McPherson? who died of an AIDS-related illness and so writes from inside characters who are ill and their situations.

The film shows how families get opportunities for reconciliation if only they can recognise them and have the courage and the love to act on them. The movie provides a moving (and thoughtful) experience.

1.The impact of the film? The familiarity of the plot? The quality of the performances? Insight and emotion?

2.Ohio settings? Florida settings? The ordinariness of life in Ohio? The different, sun-drenched atmosphere of Florida? Yet the common way of life? The musical score? Carly Simon’s song?

3.The title, the focus on Marvin, his not being a central character? His place in the family? His experience of dying? The different characters and their different attitudes in terms of helping him, going into his room?

4.The family, memories of the past, the dying mother, the father and his twenty years of dying, inability to communicate, dying slowly? Aunt Ruth in the household and her lack of confidence? Bessie staying at home and caring for her father? Lee going away and making a life for herself? The grandchildren who didn’t know they had a grandfather, their coming to Florida, the discovery?

5.The character of Marvin, old, in bed, being fed, the accidents, communication? The final close-up of his face?

6.Bessie, her age, staying with her father? Her decisions in life? Her later telling Lee about her falling in love with the carnival boy, the picnic, his jumping into the water, the pathos of his death? Her not being able to tell anyone? A good woman, caring? A touch exasperated but keeping going? Her patience with Aunt Ruth, getting Aunt Ruth to give the tablets regularly, watching the television programs? Her going to the doctor, the discussions with Doctor Wally, his seeming inefficiency? The test, the possible vitamin deficiency? The discovery that she had leukaemia? The treatment, the loss of hair? Her ringing Lee, the contact after twenty years? Her accepting blame in the lack of communication? Her welcoming him into the house, the clashes with Lee? Lee’s prickliness? Befriending Hank, talking with him, his reaction against her, her perseverance, going out with him, listening to him, challenging him with questions? His keeping her company, driving the car, the exhilarating driving on the beach and its effect on her? Her care for Charlie and Charlie being kind to her father? The possibility of the bone marrow? The test, Hank and his ups and downs, feeling that he was being put upon? His hesitation? His finally consenting? The sadness that they were not compatible? Lee and the frank talk with Bessie? Close and not close? Her designing her wig? The prospects for the future? At least the family reconciling?

7.Lee, tough? Having left home, marrying her husband, the stories of his brutality, going? Her raising the two boys? Her harshness with Hank? His burning down the house, going to the institution? Her work, beauty consultant, working in the salon, doing her exam? Feeling that it was a time for herself? The visit to the psychiatrist, the clash? Visiting Hank, his being asleep? The phone call from Bessie, the decision? The pressure on Hank? The drive down, the clashes about the radio, the music? Her love for her son, yet harsh? Love for Charlie? Her seeing her father, the effect on her? Bessie, the arguments? The clashes with Hank, his sitting in the car, getting him into the house, demanding that he have the test? The pressures on him? His running away and her reading the note? The test, the non-compatibility? Listening to Bessie’s story, the reconciliation? The challenge to herself, to pack and go, to stay?

8.Aunt Ruth, her place in the house, getting old, her watching the television, knowing all the soap opera stories, befriending Charlie, watching together, her explanations to him? The future for her? The touch of the hypochondriac? Not able to take responsibility?

9.Hank, his age, experience? Tearing the photos of his mother and father in half, burning them, the house burning down? In the institution, his mother coming to visit? His angers? The news about Bessie, his not knowing that she existed? The travelling to Florida? Sitting in the car, his continued angers? His care for Charlie? Going in, finding Bessie friendly, yet resisting her outreach? Her giving him the tools and his appreciation? His fixing the garage door? Feeling that he was only wanted when he could be used? The hesitation about the decision? The pressure from his mother? Going out with Bessie, the drive on the beach? His going to accompany her, the decision to have himself tested? His running away, leaving the note for Bessie? The return? A possibility for the future? Bessie and her urging him to be his own man and live his own life?

10.Charlie, small, seemingly indifferent? Patient? His friendship with his grandfather, with Aunt Ruth and sharing things with her?

11.Doctor Wally, as a consultant, his manner, telling Bessie the truth? The tests?

12.Bob, his being on lithium, the discussions with Hank? His being very slow, Doctor Wally’s brother, phoning him, Wally and his kindness towards his brother?

13.The psychiatrist, the interview with Lee, her work with Hank?

14.Going to the retirement home, Bessie’s reaction and not liking the place, Lee wanting to like the place to put her father there? The smooth talk of the retirement home director?

15.The humanity of the film? The strength of the portraits? Dealing with illness? Dealing with family trials, malfunctioning families, listening, the truth, the possibilities for reconciliation? Hope?

L'ENFANT ENDORMI (THE SLEEPING CHILD)

Morocco, 2004, 97 minutes, Colour.
Directed by Yasmine Kassari.

The Sleeping Child is a film from Morocco, a female director with an emphasis on female issues, especially the plight of semi-illiterate women whose husbands leave them in order to go to Europe for better wages – and then do not come back.

The director won the best director award at the Mar del Plata festival and won the grand prize at the Tangiers film festival.

It is significant that a film like this, with such issues, is made by a female director, critical of life in her own country – but made with confidence and hope.

1.North-eastern Morocco? A Moroccan story, Moroccan customs and traditions? Into the 21st century? Issues of men and migration? Women and their remaining? The place of women, family and children?

2.The importance of the landscapes, the mountains, the many long shots, the terrain? The opening ceremony, life in the mountains, in the huts, the village, the school? The video machine?

3.The title, issues of marriage, pregnancy, rituals for Healing, the foetus being lulled to sleep while the husband was away, the rituals for awaking the foetus? Zeinab and her final decision?

4.The opening, the ceremony, Zeinab as the bride, Hamila and her helping her, the mother, the arrival of the Healer? The men, waiting, dancing, clashes? Migrating the next morning? Hamila and her discussion with Ahmed? Zeinab and her husband, the ritual of the wedding night? The women expected to wait and obey?

5.The picture of Hamila, her relationship with her daughter, the baby, work in the mountains, her being illiterate, but intelligent, her discussions with Ahmed, his going, the video and his not speaking on it, she and Zeinab getting the video, the camera, the message, her being hurt? Flirting? Stopping, her being beaten? The situation being too much – and the possibility of her leaving?

6.Zeinab, as the bride, the Healer and the rituals, the bathing? Her pregnancy, the ritual for getting the child to sleep, going to the city, the Healer, the package, the document with the ink? Zeinab’s life in the village, at home, with her mother, mother-in-law? The video? The bonds with Hamila? Finally taking the photo, sending it to her husband – and his ordering her not to go into the town? Her decision not to waken the sleeping child? The letter with the ink going down the river?

7.The mother-in-law, blind, strong, being waited on, the discussions, her memories, agreeing to the photo?

8.The women’s mother, her hard life, work, the description of their birth? The other women?

9.The sketch of the men, the situation, the wedding, going underground, to Spain, the hard life, sending the video, their absence, out of work, injuries, not sending money? Wanting their women to wait and obey?

10.Hamila’s daughter, lively, sad at her father going? The details of life at home? School? The school sequence, the teacher asking them about democracy, their reply that democracy was about bread? The teacher and the abstract class? The blind mother coming to ask for the children to do the rituals? To eat the bread while it was hot?

11.The Healer, his coming with the initial ritual, the package with the letter and the ink?

12.The ending, the pathos with Zeinab, Hamila absent, her not wanting the child?

13.A focus on women and their rights in Morocco, Islamic society in Morocco?

14.The reality of migration, work, men, the consequences for Moroccan society?

MONEY AND THE CROSS

Kenya, 2005, 83 minutes, Colour.
Directed by Martin Munyua.

The title sounds like one of those old movies which were promoted by the Billy Graham Crusade. In fact, it begins like that. Ken is a powerful and charismatic preacher in an apostolic church in a Kenyan town. He preaches against alchohol and its devastating effects and leads a pious vigilante group to smash the illicit stills. Which does not endear him to local gangsters.

But then the film changes tone and probes deeper issues: Ken and his relationship with his wife and children; the hairdresser, Lorna, who is silent about her alcoholic mother, dreams of escaping the town and throws herself at Ken; Ken’s earnest attempts to find money for a slum project. It comes to a head – with money or the cross – when Ken wins a beer promotion lottery because Lorna has entered in his name.

This takes us into different layers of Kenyan society. We see the mercenary aspects with lotteries and ambitions for spending. We see the church for and against Ken accepting the money – and the Bishop visiting, expressing his fears of scandal but not against secretly taking a cut of the winnings.

Ken is a good man. He is a man who fails and who is betrayed. He learns lessons of integrity the hard way. A very interesting African variation on the Thorn Birds story as well as a critique of Kenyan society. Winner of the 2006 SIGNIS East African Talent award.

1.A Kenyan story? Universal application? Social dimensions? Religious dimensions?

2.The title, Ken’s ministry, his life and values, the role of money, the effect of money on each of the central characters?

3.The setting, the town, the church and the congregation? The homes? The affluent society? The illicit stills, the beauty parlour? The world of television? The world of the church? The musical score?

4.The focus on Ken, as pastor, charismatic, the enthusiasm of his preaching, his being against alcohol, arranging the vigilante group to destroy the stills, their going on the rampage? The response of the congregation? The brewers and their antagonism towards him? Making him a target? At home, work on the computer, tension with the wife and children? The bonds with them? His work, not communicating well with his wife? The visit to Lorna, her listening to him, her attraction towards him, offering him the shampoo? His explanation of the project? His other visits? His brother working with him? Hoping for the financial grant? The meetings with the bishop? The group planning to bash him? His visit to Lorna, her approaches, the thugs coming in, the bashing, the police arriving, the police chief and the innuendo? The later rumours? His absence, getting the financial grant? The information about the lottery, the beer promotion, his being the winner? Lorna using his name? His return, people’s hostile reaction, his brother and the tension, the bishop and the visit? Seeing the television, winning the lottery? His going to Lorna, his anger with her? The meeting of the council, the man supporting him, the others wanting him to leave? The bishop and his public denunciation? The private visit, his proposing a deal to keep part of the money? Ken and his wife, his wife fighting Lorna, confronting him? Losing his job, the family going away? His decision to accept the money, going to the studio, skulking? With Lorna, the decision to be with her? Their going to Nairobi, Lorna and her being unwilling to help him in his social projects? Her taking the cash, his stopping the credit card and her not buying the car? His antagonism towards Lorna? Going back to his brother, his hopes for a social project?

5.Ken as a good man, temptation, pressures, succumbing, disillusioned, repenting? Hope for some achievement?

6.The sketch of his wife, her love for her husband, support in the church, the children, the scenes at home? Her clashes with Ken? Her discussions with her friends, their urging her on? Going to the beauty salon, the fight with Lorna? Watching Ken on television accept the money?

7.Lorna, her life, her relationship with her mother, not wanting to talk about her mother, her hostility towards her? Attraction towards Ken? Wanting to get money, get out, get another beauty salon? The attraction, her coming on to Ken? The bashing? Her fight with Ken’s wife? Ken going to her, their going to the city together, her not wanting to help him in any of his works of charity? Her lack of interest in social justice, taking his credit card, getting the cash, the splurge on the jewellery, buying the car, the card stopped and the salesman ordering her out? Her bag being stolen in the street?

8.The police chief, the interrogation, the innuendo? Seeing him later, the discussions? Lorna encountering him in mufti in the streets of Nairobi?

9.Ken’s brother, sincere, helping with the projects?

10.The committee, support, denunciation?

11.The portrait of the bishop, worrying about what people would think, his denouncing Ken, the rumours, the money situation, the meeting of the council – and his private proposal about getting some of the money?

12.The customers in the shop, Lorna and her talk with them?

13.The TV world, the drawing of the lottery and the handing over of the cheque?

14.A portrait of contemporary Kenya? Affluence, hopes? Integrity, dishonesty? Failures, possibilities for redemption?

HOLLOW CITY (NE CIDADE VAZIA)

Angola/Portugal, 2004, 90 minutes, Colour.
Directed by Maria Joao- Ganga.

Hollow City is the first film made by director Maria Jo Ganga, also the first Angolan woman to make a feature film.

The film goes back to the times of the civil war and focuses on a group of children, being accompanied by a nun, who are fleeing the war in a small village. They go to the Luanda but one of the boys eludes the vigilance of the nun and the audience follows his wandering through the city, encountering all kinds of people, hostile and friendly.

The film is emotional, shows the effect of the war on the people of Angola, especially the children, and asks for audience compassion as well as a plea for help.

The film won a special award at the Paris film festival.

1.An Angolan perspective on the civil war? The repercussions on people? Children? The city of Luanda? The historical difficulties? The European backing for this film and collaboration?

2.Luanda 1991, the vistas of the city, the streets, the beach, the fishermen, the church, the workers, the clubs, the gamblers and prostitutes, the apartments? Visual and authentic? The musical score?

3.The title: hollow or empty? Symbol of the action? The emptiness of the city with the curfew? The final crime in the empty city?

4.The humanity of the film, compassion? Pessimism?

5.The prologue, the plane taking off, the situation of Bie? The coffin on the plane, the soldiers, the nun and the children, tension, the arrival, N'dala and his escaping? Setting the tone of the film?

6.The sister, the anxiety, discussions with the Brother? The children, her anxiety, searching the city, in the minibus and the streets, going to the church, getting information, talking with the fisherman on the beach, being invited to come the next day – too late?

7.N'dala’s story, his age, the experience of the war, his parents killed, sister telling him that they were in the sky? His home-made car? His running away, hiding, on the streets? The man who wanted to buy the car – and returning later with the other machine and getting the money? His pregnant wife and her complaints? Going to the beach, sleeping in the hut, encountering the fisherman, talking with him? The fisherman and his story of the mermaid? N'dala seeing the picture of the saint in the church, the fisherman explaining about mermaids, the saints and their help? On the roof, meeting Ze, Ze’s kindness, keeping him company, introducing him to Joka? Rosita? At the apartment, doing the work, cleaning up, alone? Ze and his telling him the story of Ngunga, his fascination? Selling the cigarettes on the streets, hiding from the nun? Admiring Joka, wanting to be a mechanic? The making of the car, the welding? His searching for Ze, wanting his company, going to the schools? Back to the fisherman? The money and his paying for the cigarettes?

8.Ze, at school, the rehearsals for the play, his being Ngunga? His hopes? His godmother’s severity with him, doing the washing? Hanging the washing out, meeting N'dala, the friendship, telling him the story of Ngunga, the ride with Joka, setting him up in the apartment? Their company, searching for him, leaving the note about the play? The rehearsals, the performance and its being a success – his wanting to be an actor?

9.Joka, Ze’s cousin, his lifestyle, taking them for a ride, going to the club, with Rosita, the prostitutes? His deals, as a mechanic, his friendliness towards N'dala, making the car and welding? His friend advising N'dala to be in on the plan?

10.The portrait of the fisherman, old, kind, the story of the mermaid?

11.Rosita, the other prostitutes, their way of life, the apartment?

12.The buyer, his interest in the machine, with tourists, working at the church?

13.The plan for the crime, N'dala climbing in, getting the key, the light going on, the phone call, the military man, the confrontation, Joka urging N'dala to shoot?

14.N'dala looking at the picture on the wall, the mermaid, the saint, symbol of his hopes – and his being shot dead?

15.The anguish of war, the effect on children, the world of crime in a civil war situation?

BY ANY MEANS NECESSARY

Kenya, 2005, 93 minutes, Colour.
Directed by Nick Njache.

This topical and political film opens with a TV news report about corruption and then proceeds to show an ambitious young politician in process of genially orchestrating a briefcase bribe.

However, this is a chamber piece drama, an intercutting of four characters who were at college together and whose paths have taken them in different directions – or have they?

Attila is the smooth, handsome and absolutely corrupt politician. Garth is a former prisoner and now a thug for hire. Jezebel is a mysterious friend. Zwide is an idealistic journalist whom Attila wants to control and who once had a relationship with Jezebel which he broke believing others’ stories about her rather than hers. Jezebel is now with Garth.

The action, almost all in the confines of Attila’s office, is punctuated by stylised flashbacks for each character’s story. The night progresses (although the prominent clock on the wall does not!!) with a great deal of talk. An interesting comparison would be Stephen Hopkins’ talkfest drama about crime, Under Suspicion, with Gene Hackman and Morgan Freeman).

There is a violent climax, a dramatic twist and a final TV news broadcast which is replete with cover-up and lies.

Interesting for outsiders to see a Kenyan film-maker tackling such tricky subjects like political corruption.

1.The Kenyan film industry? Topical themes, critique, drama? Sophistication?

2.One-night structure: the flashbacks stylised, inserted at crucial points? The structure of the four characters interacting?

3.The film based on talk, a chamber piece? Theatrical? The interconnections between the four characters, the repercussions? The issue of who was controlling?

4.The prologue, the news, indications of political corruption? Economic corruption? The end, the television program? The distortion of the truth?

5.The focus on Attila, his meeting the businessmen, their dark glasses, sinister tone, friendly talk, the roundabout way of talking of the bribe? His taking it? His press conference, arranging the abduction of Zwide? His henchmen, dismissing them from the office? His talking with Zwide? His manipulation, the proposal of the bribe for Zwide’s loyalty? Hiring Garth, setting him up for the murder, the various deals, the twists, Garth in control, Attila in control? The passport? Jezebel’s mysterious presence? Her being with Garth?

6.Zwide, the abduction, waking in Attila’s office, their discussion, his fear, the issue of the bribe and manipulation, his seeming to accept? Going to his office, writing his articles? Copying the discs? Sending them to the editors – but the editor phoning Attila? His return, encountering Garth, realising that Garth was supposed to kill him? Their arguments? His feelings about Jezebel? His feelings about Attila? Garth and the gun, the threats, Zwide’s alleged altruism, wanting to live and die for a cause?

7.Garth, a thug, arriving with Jezebel? The interactions with Attila, Attila’s deal, Garth’s hesitation, the agreement? Using the blade or not? The arguments with Jezebel? The issue of the passport? Zwide’s arrival, his shock, their discussions, the threats? Jezebel’s phone call? His leaving, his waiting to see what happened?

8.Jezebel, her presence with Attila, her appearance, air of mystery (following the car in disguise)? Her being with Garth? The bond between the two? The deal, the arguments? Her interactions with Attila? With Garth? Her leaving?

9.The different flashbacks, to college, to prison, Jezebel’s relationship with Attila and Garth, to Zwide? The revelation of Attila and his manipulations, his going to jail, his father bailing him out? The sexual relationship with Jezebel? Knowledge of her drug-taking? Controlling Garth? The antagonism with Zwide? Zwide and his love for Jezebel, his believing the worst of her, hurting her? Garth, in jail, the violence? The confrontations? The carjack, meeting Jezebel, seeing her taking the drugs, helping her to get off the drugs? His love for her? Her not saying she loved him? Zwide and his hurting Jezebel? Her reaction to his not believing her? Her going on the drugs? Garth and his help? The final photo – and his reaching for it?

10.The confrontation, Attila’s return, the discussions, the shoot-out? The revelation about Jezebel, her work, undercover? Her explanation of her motivations, revenge? Giving the police the money? Telling them to follow orders? The cover-up?

11.The final news information, the lies about what had happened to the two dead men? Jezebel and her shooting of Garth? An observation of Kenyan politics, corruption? A telling critique?

TALNAM BAMI (THE FESTIVAL)

India, 2005, 74 minutes, Colour.
Directed by Dhananjoy Mandal.

The Festival is a brief Indian film, emotional and affecting, especially as it focuses on children out in the monsoon area of India, the children in the rain, suffering the social and economic effects, starving. The location is Bengal and the jungle atmosphere.

The film focuses on a forthcoming festival and the children hoping to participate – but prevented by their parents, and their wealthy relations not inviting them to join in.

The children dream about the feast – waiting, dressed, and people passing by.

The film has elements of folklore – but is also, with its focus on children and family and folk festivals, an ethnographic film as well as an entertainment.

1.A folkloric film? Ethnographic film? The combination of these elements?

2.The monsoon setting, the continual rain? The children in the rain? The social effects, the economic effects? People hungry, not able to get food?

3.The location, Bengal, the jungle atmosphere, the huts and the village, the various houses, the rivers? The roads and paths? The mud? The town? The audience being immersed in this locations with the characters? The musical score – the Indian instruments, melodies, sounds?

4.The title, the boys looking forward to the festival? Gopal and the information, preparation, asking every day, not being invited?

5.The focus on the two boys, Gopal and Nepal, at home, with their father, their mother caring for them, scolding them? Their looking for the palms and the fruit, collecting them, diving into the water, carrying them to Aunt Joti? Trying to sell them? To get some money? The children playing together, at home, eating, playing in the mud, washing in the river? With their friends? The world of the children?

6.The mother, her constant care, scolding the father, his age and starting a family? Having no food, no money? Friends providing? The cooking? The father, smoking, going into the village? Getting some food?

7.Aunt Joti, the daughters? Wealthier, more comfort? Not giving any money to the children for the palm fruit? The possibility for invitations to the festival?

8.The festival itself, the theme, the rituals, everybody in the village being invited? Gopal and his not taking any money so that they would be invited?

9.The day of the festival, his dream, the feast? Waiting, dressed, his friend passing by and telling him to come, his refusal? The crowds of people going to the village, all passing by, not inviting Gopal?

10.The world of the adults, their preoccupations, insufficient regard for the children? The contrast with the children’s world, play, work, hopes and dreams?

11.The sadness of the ending, for the boys, for Gopal – and for the audience?

12.A glimpse of a way of life in the remote areas of India?

THE OTHERS

Spain/US, 2001, 101 minutes, Colour.
Nicole Kidman, Fionnulla Flanagan, Eric Sykes, Elaine Cassidy, Christopher Eccleston, Renee Asherson.
Directed by Alejandro Almenebar.

Ghost stories on screen in recent years have tended to be special effects thrillers or special effects spoofs. The Haunting with Liam Neeson is an example of the former. The House on Haunted Hill with Geoffrey Rush is an example of the latter. Of course, once the parodies of horror films were made, combinations of stupidity and crassness were the order of the day. Scary Movie 2 took as its framework the plot of The House on Haunted Hill and gave it all the bad taste that the film-makers could muster.

Fortunately, The Others is the exact opposite of this. And it is a very welcome ghost story. Film buffs will be thinking of Henry James and The Turn of the Screw and its film version, The Innocents, with Deborah Kerr. It was a psychological ghost story where audiences had to ask what was really happening and how much was in the mind of the repressed governess.

Perhaps the film it relates to most in recent years is the surprisingly effective The Sixth Sense. It had a brilliant twist at the end which made audiences re-assess how they had been looking at the events and characters in the film. Audiences for The Others will be expecting some twists in the plot. While, I tried to anticipate the solution, I was only half right - and the half wrong made all the difference! We have to wait until the very end where the screenplay gives us the solution and proves that it did not cheat. I happened to be expecting one thing and the film delivers another.

It is an eerie film rather than a scary one. However, there is one sudden edit cut which is unexpected and lifted quite a few of the audience off their seats. It is the eeriness which remains with you.

So does the performance of Nicole Kidman. It is a marked contrast with her exuberance in Moulin Rouge. Here she is the rather proper (even prim) mother of two young children living in a mansion on the island of Jersey at the end of World War II. She is over-protective because of their disease which prevents them being in light. She teaches them, gives them religious instruction, acts with rather rigid discipline. Kidman's acting is nuanced and controlled, a fine performance.

Sometimes one of the difficulties of ghost stories is the credibility of the children. Haley Joel Osment was completely believable in The Sixth Sense. Here Alakina Mann and James Bentley do a very good job, ordinary children in extraordinary situations. Also memorable is Fionulla Flanagan as the new housekeeper. She is able to suggest menace while persuading us that she is quite normal.

The screenplay also introduces religious language, especially about purgatory and limbo. Popular films like this open up to our imagination the formulations of doctrines that we have received, especially about life after death. They are images and symbols.

It is difficult to say too much more without giving away the plot, so it might be best to add simply that this is a finely-crafted film, beautifully composed and shot, an atmospheric score - a film that you could take anyone who likes ghost films to see.

Direction and screenplay and score are by Alejandro Almenebar who made Open my Eyes (the American version of which was Vanilla Sky with Tom Cruise) and The Sea Inside.

1.Impact of the film? Awards and acclaim? The blend of melodrama, mystery? The period of World War Two? The changes of moods? The perspective of the Spanish writer-director? The international cast?

2.The success of the film as a ghost story, the various twists, the ending? The title – and who were the others?

3.The house itself as a character? The interiors, the fifty rooms, the locked doors, the use for the family and servants? The exteriors, the garden, the iron gate? The fog and the dark? The eerie atmosphere? The musical score?

4.The prologue and Grace’s comments about antiquity, history and pre-Creation? Her waking and screaming?

5.The mysterious arrival of the servants, the later discovery that the post had not been taken? The three as a group, the explanations? The tour of the house? Grace explaining the other servants had disappeared, giving no notice, the master away at the war? No electricity, having got used to it with the German occupation of Jersey? The house continually dark, the curtains drawn? Grace’s comments about the children hiding, her own migraine? The piano not to be played?

6.Grace as a character, prim and proper, her stances, her bearing? A loving mother, her explanations, guiding the servants over the house, the rules, hearing the sobs? Her hysterical moments?

7.The introduction to the children, Anne and Nicholas, the questions, the children’s physical condition, allergy to the light?

8.Mrs Mills, Bertha, meeting the children, having the best years working in that house, therefore the group coming? Her memories about the tuberculosis? Her beliefs in the Beyond?

9.Lydia, mute, her work, her becoming mute, her being scolded by Grace?

10.Mr Tuttle, the gardener, his work in the garden? The gradual talking of the three together, their seeming sinister, their plans, waiting for the proper time, covering the gravestones?

11.The detail of life in the house, the breakfast, everything normal? The differences during the day?

12.The absent father, hoping that he would come back, the children arguing about their mother’s madness?

13.The film getting darker, the rooms, light being unbearable? Grace not liking fantasies, forbidding her children to fantasise, especially about ghosts? Their lessons, her strictness, not letting them play, the various punishments, separating the children, keeping Grace on the staircase for three days? The joke about seeing a ghost, Anne saying that ghosts had sheets over their heads, simply say hello? Squeeze on the rosary and say the Our Father and the fear would go away? The lesson about the nature of family, not arguing?

14.Victor, the audience not seeing him, Anne seeing him, the sobs? The drawing with his parents? Their viewing the house? The children discussing Victor as a ghost, the opening of the curtains, Anne taunting Grace, the fears and the screams? Anne having to read aloud about the expulsion of Adam and Eve from Eden?

15.The religious overtones, the discussions about Limbo, non-baptised? Disobedient children going there? The mother and her threats? The discussion about visiting the priest and his not having come? Talking about being isolated, Grace feeling cut off from the rest of the world? The quotes of Abraham, Grace as hard and tender, especially with Anne, preparing her for her first communion, the bridal dress, Anne treating it as a ghost dress, with the puppets, and Grace throttling her daughter?

16.The search of the house, the spare rooms, fears, removing the covers from the statues, the mirrors? Anne and the drawing of the family, discussions about witches? The old photo, the dust – the dead people, ghosts wanting to live on through the photo? The Book of the Dead, souls living on in portraits? The piano playing, no-one playing it, the locks turning?

17.The comment that the world of the dead gets mixed up with the world of the living? Grace and her going to seek the priest, lost in the fog, finding the master? The impact of his return?

18.Charles, his story, volunteering, the question about where people were when they were dead? Grace explaining to the children what their father did, on the side of the goodies versus the baddies?

19.The memories of the day, what actually happened, the servants going, Grace and the children?

20.Charles and his questioning Grace about what happened, his leaving to go to the Front, her memories of the occupation, the fact that people surrendered? The curtains gone, Mrs Mills wanting the light in? Her fight with the servants, turning them out, the children running away?

21.The discovery of the photo of the three, 1891? The seeing of the other people, the intruders? The holding of the séance, Anne and her trying to tell the medium, whispering in her ear? Nicholas and his being present? Grace coming in, gathering up the papers, trying to burn them? Seeing the séance from the point of view of the family? Seeing the séance from the point of view of the visiting family, the expert, the medium?

22.The reconciliation, Grace’s explanation of what really happened? Her madness? The family deciding not to stay in the house, Victor looking up at the ghosts? The light, the group having to live in the house, prepared for other intruders, but living together?

ELLIE PARKER

US, 2005, 85 minutes, Colour.
Naomi Watts, Scott Coffey, Rebecca Rigg.
Directed by Scott Coffey.

Ellie Parker began life as a short film in 2001, a collaboration between writer-director, Scott Coffey, and actress Naomi Watts. While Naomi Watts had been appearing in Australian film and television for ten years (and some overseas films), she was hailed in her breakthrough performance in David Lynch’s Mulholland Drive. She has never looked back and toplined Peter Jackson’s King Kong.

Coffey and Watts and some of their actors and collaborators on the short, including Australian actress Rebecca Rigg, decided to make a feature-length version of Ellie Parker. It looks its small-budget and quite some improvisation. But, as an exercise in looking at Hollywood and the trials of aspiring actresses, it is quite an interesting and entertaining tour-de-force.

Naomi Watts, in case anyone still needed convincing, proves herself to be a very talented performer. Apart from creating the character of the nervously-ambitious would-be from Down Under, she is able to perform some audition sequences, from Southern Belle to foul-mouthed street worker to drama class improvisations. Coffey himself appears as a wannabe photographer who begins an affair with Ellie only to find that he is now convinced he is gay. Rebecca Rigg is Ellie’s loyal friend. Chevy Chase appears as a smooth-talking agent.

All the problems of auditions, callbacks, being stabbed in the back, encountering shady producers and directors with the come-on are all here in this brief, entertaining, cinematic exercise.

1.The transition from short film (sixteen minutes) to feature film? The work of the director, developing the screenplay, the characters, his own performance? The appreciation of Naomi Watts – and the changes in her career from 2000 to 2005?

2.Naomi Watts as screen presence? Her initiating the project? Participating in its development? Her acting skills? A showcase for her talent? Her subsequent career?

3.The supporting cast, Rebecca Rigg as Ellie’s companion? The presence of Chevy Chase?

4.The Australian origins, accent, people’s comments? Australians in Hollywood? Trying to succeed?

5.Ellie Parker in herself, her age, experience, hopes? Being in Los Angeles, switching accents? Her old car, driving around the city, talking on her phone? Her friendship with Rebecca Rigg, their going to the lessons together, the encouragement to create a scene from their lives, Rebecca and her inventing the incident and Ellie’s reaction? The initial audition, the director, the encouragement, the dialogue, her impersonation of a southern belle, her overwhelming performance, weeping, everybody standing and watching? The subsequent encounter between the assistant and Ellie’s boyfriend? Her anger? The later encounters with the secretary, the arguments? Her returning and wearing the period dress, the lack of interest in the producers, on drugs? Her rehearsing in the car, the blunt language, foulmouthed? The trials and tribulations of an aspiring actress? Going with Rebecca to overlook Los Angeles, their discussions, their hopes, moods?

6.Ellie’s boyfriend, relating to him, as a person, his self-preoccupation, his music, singing, asking her opinion? His encounter with the secretary? Ellie walking out on him, taking her things? His wanting a reconciliation?

7.Rebecca, her background, more assured, her support of Ellie?

8.The crash, Chris and his behaviour, his promoting himself as a cameraman, the talk, Ellie going to the shop, his pretending to be his twin brother, admitting the truth, inviting her to the concert (and the encounter with Keanu Reeves and his band, the adulation for Keanu Reeves)? Going home with him, the sexuality, his acknowledgment of his homosexuality? Her angry response?

9.Chevy Chase as the agent, his appearance, his talk, his assistant, his advice? Ellie and her arguing herself out of being an actress? His later phone call to encourage her to the reading?

10.A sketch of Hollywood, Los Angeles, the phoney Tinseltown, aspiring actresses and all they have to go through?

11.Naomi Watts and providing a sketch of an interesting character – in the form of an aspiring actress, hopes and despair?

L'APPEL DES ARENES (THE WRESTLING GROUNDS)

Senegal/France, 2005, 90 minutes, Colour.
Directed by Cheikh Ndiaye.

The Wrestling Grounds is a well-made film from Senegal, with French finance and expertise.

The film will make an impact on African audiences but will be somewhat mystifying to non-Africans. However, there are western touches, especially in the presentation of wrestling sequences.

The film makes its setting in the cities of Senegal, people accosting one another in the streets, muggings. However, the film makes a transition to a wrestling school and follows the career of a potential wrestler. The film indicates that wrestlers are national heroes in Senegal, especially with the rituals when they are victorious.

The storytelling and narrative are more indirect than western audiences might expect. It illustrates the various styles of mythmaking and folkloric storytelling in west Africa.

1.The impact of the film for African audiences? Non-Africans? The western touches? The specifically African, West African aspects?

2.The role of wrestling in Senegal, the wrestlers as national heroes, the rituals after their victories? Their reputations? Audiences, admiration? The wrestling schools? The modern critique of wrestling? The images of wrestling and the wrestling grounds?

3.The more western style of film-making: the opening, the man being accosted in the street and mugged, his being rescued by Andre? The friendship, the wrestling school? The gambling clubs? The affluent homes, especially of Nallah and his parents? The romance – and the touch of sex?

4.The specifically African aspects of the film: the telling of stories, the group and the ritual of the folklore, the ritual to prepare the wrestler, the hunter, the blood? The legends of lions and animals? The wrestling? The combination of tradition, religious ritual?

5.Nallah, his interest in wrestling, the rescue by Andre? His gratitude? Boxing, training? Joining the group? His mother’s animosity and slapping him? His father’s tolerance? Watching the wrestling on the television and his mother horrified? Her later relenting? His training, with the group, listening to the stories about the heroes, following Andre? His grief at Andre’s death? The funeral and the ritual? His following the new champion – audiences expecting him to take the place of the champion but he doesn’t? His sharing in the triumph at the end?

6.Andre, genial, mechanic, saving Nallah from the muggers? His work with the cars, testing them out? The training, friendship with Nallah, the strong bonds of intimacy and friendship? The fights? His going to his village, the smugglers, the criminals? His death and its pathos?

7.The background of criminals, gambling, cheating? The smugglers? The gangs? The women and their hanging on? An ugly picture of the crime atmosphere of Dacca?

8.The blend of East and West? The build-up the culmination with the confrontation? The champion, her sexuality, the night? The other opponent, his religious preparation? The victory?

9.Insights into African culture?

MEN AT WORK

Iran, 2006, 75 minutes, Colour.
Directed by Mani Haghighi.

Men at Work is based on a story by the most celebrated of Iranian film-makers, Abbas Kiarostami. It is an allegory – which may not attract a wide audience. However, it is fascinating as it shows four middle-aged men returning to the capital from a trip to the mountains. They want to return in order to watch a soccer match. However, on the highway, they are confronted by a natural monolith, three metres high, a narrow rock formation, straight out of the ground overlooking a rift. They use all kinds of means to try to move the monolith, enlisting the help of people passing by. The film shows male bonding, male competitiveness, eccentric characteristics – and a lot of talk about their lives, about their relationships. Two of the women actually turn up and are enlisted in the project – much to their lack of interest.

This is the second film by the director who is the son of well-known Iranian personalities and the grandson of a writer and director, Eberahim Golestan.

1.Interesting, entertaining, comic, serious?

2.The director’s indebtedness to Abbas Kierostami? The story? The adaptation of the screenplay? The homages to Kierostami’s style: close-ups from outside the car window, close-ups within the car, cars going up and down mountains?

3.The title, its irony? The men coming from a ski holiday? Making hard work of pushing the rock over the cliff? The uselessness of their enterprise? The personal endeavour? Success at the end or not?

4.The opening, the car windows, the man asleep, the voice-over during the credits of the chatter, about football, about women, sexual relationships, their own histories? The man becoming a grandfather for the first time, the name of the grandchild, western and Iranian? The married man, marrying the younger girl? The men and their comments? Their work, interactions?

5.Driving through the mountains of Iran, the beautiful locations, the desert mountain scenery? The rock and its shape? Standing alone? The challenge for people to push it over? The musical score, the piano background?

6.The men, the story about the Indian and the special place to urinate? Getting out of the car, the man discovering the rock? Calling the men out? Their immediate response, wanting to push it over? Their various attempts at pushing? At digging? At discovering that the rock had no root? Seeing the man with the donkey, the man buying the donkey, the ropes, the threat of the donkey falling over? The old man and his comments about how many had tried, his watching?

7.The passers-by, the man wanting to find the others and getting them to play loud music so that they could meet? The passengers in his car? The young woman? The businessman and his reputation? Their attempts to push? Using their car?

8.The two women arriving, the young bride, the fight with her husband, the talk, their reconciliation and the men betting how long it would take? The older woman, her past relationships and memories, discussions? Her suggestion of getting the lever, going for the chainsaw, wanting to cut down the tree? Getting the tree? Later the man going to get the signpost which had been partly knocked over? His sitting under the shade and his wife finding him?

9.Everybody involved in the attempt? Their failure? The car, the engine, the snapping of the iron, it cutting the man and his injury?

10.The obsessive, his wanting to stay, pushing and digging? The others taking their friend to the clinic, realising they had his coat, turning around? Their sitting in the car?

11.The personalities: the man with the young bride and seeing him with her? His friends’ comments about the unsuitability? The driver, his wife leaving him, going to Paris, selling up, returning – and the news about her terminal illness? The old man becoming a grandfather and his joy? The other man and his obsessiveness?

12.The film’s revelation about character – beginning with the superficial, going deeper?

13.The obsession, the rock – the comments about philosophising? Its symbolism? The transcendent, human effort, human defeat?

14.The ambiguity of the ending – did the rock actually fall or not? Does it matter?