SAW II

US, 2005, 90 minutes, Colour.
Tobin Bell, Donny Wahlberg, Shawnee Smith.
Directed by Darren Lynn Bousman.

The original Saw thriller was a clever horror or terror film, much better written and more frighteningly constructed than might have been expected. The sequel has appeared very rapidly, the makers probably having a healthy bank balance to go in to production almost immediately. The sequel continues the style of the original, even to repeating the basic plot (and linking it with the first film towards the end). Fans will know what to expect. Other audiences straying into Saw will find it all rather alarming and gruesome.

Once again, a group of seemingly random individuals wake to find themselves trapped in a locked room, discovering tapes which gives them clues as to how they might escape. They bicker, they try their wits, they fail. In the meantime, their tormentor watches on closed circuit television. Last time there was a twist as to where the killer actually was – and a variation on this trick is used here with a character from Saw. The other difference here is that John (a sinister Tobin Bell) has a central role this time as he taunts a detective as they watch the victims on the screens. The detective has tried to reconcile with his son who is one of those trapped. As the plot goes on, the detective is unmasked as having some deep secrets.

While trying to find a word that would do some justice to the skills in the film-making while highlighting the macabre, even sadistic touches, I came across a review which called it both clever and heartless. That seems to be right.

1.The extraordinary success of the original film? Popular around the world? The marketing of the sequel?

2.The sequel resembling the first film in plot? Developing Jigsaw’s character? Giving more background to his cancer and his illness? His work with Amanda, saving her, bequeathing his mission to her?

3.The similarity of the plot to the first film? The initial criminal, caught, trapped, tied into the torture chamber? The torment, his death?

4.Eric Matthews and the police investigation? The contact with Jigsaw, tracking him down? The ease with which he found him? Discussions with him? The other police?

5.The group who were trapped, coming to consciousness? Eric’s son with them? The various characters, their personalities, their interactions, the reasons for their being trapped and tortured? The connections with Eric Matthews?

6.Matthews and his concern about his son, John Kramer giving him time limits in order to find his son? The reaction of the other police? The technology of the torture chamber? The visuals on the monitors?

7.Matthews and his going after his son, into the building? The police following, the visual clues? Discovering they were in the wrong building?

8.The reaction of the group, the rash man wanting to get out and being shot? The desperation of the other characters? The violence they experienced? Attacking each other?

9.Amanda, her presence, waking up, her participating in the game? The fact that she had engineered it?

10.Daniel, his presence, his relationship with his father, running away? His father wanting to save him? His not knowing that his father was concerned? Talking about his father?

11.The different men and women, the torture, their deaths? The possibilities of escape, the corridors, the importance of the timing?

12.Amanda revealing herself to Eric Matthews? The confrontation, her motivations, the case against him, his framing her? His personal violence, his aggressive police tactics? Her leading him further into the building?

13.His being trapped, his death? The others being saved?

14.The moralising of the film? The visualising of the torture? The horror aspects?

15.The film’s success – and another sequel?

THE HOT CHICK

US, 2003, 105 minutes, Colour.
Rob Schneider, Anna Faris, Rachel Mc Adams, Matthew Lawrence, Adam Sandler, Lee Garlington.
Directed by Tom Brady.

The Hot Chick is a comedy from Adam Sandler’s company, Happy Madison. He himself appears in a cameo role as a bongo player. However, this is a Rob Schneider vehicle. He had worked many times with Sandler as well as having his own comedies like the Animal and the Deuce Bigelow films. This one is funnier than the other films – and avoids much, not all, of the crass humour of those films. Schneider obviously enjoys himself in this role reversal performance.

A corny beginning set in Abyssinia fifty years BC introduces a mysterious pair of earrings which enables people to change personalities and enter into other characters. In the present, the arch mean girl of the high school steals the earrings and undergoes a change with a thug who robs them at a service station. Schneider portrays the thug. However, for most of the film, Schneider has to act as if he is the girl inside – which leads to all kind of jokes about men, their behaviour, sexual relationships, bodily functions… For a few scenes, Rachel Mc Adams has to act with male swagger.

The film is also a high school film, about cheerleaders, football teams, romances. Anna Faris has a good lead as Mc Adams’ best friend, rather ingenuous, being attracted towards the newcomer who gets a job as a janitor at the school. Michael O’ Keefe has a role as her father, and both father and mother confide in their daughter, without realising she is inside the man.

All’s well that ends well, and the film is entertaining in a very broad way in looking at how men and women cope with role reversal.

1.Broad comedy? Humorous touches, crass touches?

2.The body exchange, the genre, the variation on the theme?

3.The introduction, Abyssinia, the earrings – and the girl being a slave forever?

4.The modern city, malls, shops, school, cheerleaders, football teams, homes, domestic scenes, nightclubs? A sense of realism for this fantasy? Musical score and songs?

5.The introduction to Jessica, a mean girl, her friends, talking about the others, catty tongue, humiliating people in public, her love for Willy, her sexual reticence, stealing the earrings?

6.The encounter with the thief, at the service station, the farce of their mistaking him for the man working there, the earring and the change?

7.The change and the effect, the female in the male body, bodily functions, shape, shaving, voice…? Waking up in the morning, calling April, persuading April of the truth at the track? Hiding from her parents? Her brother and his wearing women’s clothes, his recognising her? Keeping away from school? Telling her friends, going to the various candidates who might have been responsible for the change, testing them, the big girl at the lab, the girl they thought of as a witch, the explanation of Santeri and voodoo, the Latin- American girl and the club and dancing? The friends learning the truth?

8.The parents, the father employing Jessica to mow the lawn, a poor gardener, the feminine behaviour, the father and his rough talk, man’s talk, explaining his marriage and its collapsing, the mother and her flirting, Jessica inside giving advice to both parents?

9.The sketch of April’s parents, the father and his laidback attitude, the mother and her continued anxiety, finally crashing the car?

10.Jessica becoming the janitor, the interview with the principal, using the same flattery about tuba-playing, her hair? In the locker room, listening to Willy and Jake? Hearing the truth about them, Willy’s declaration of love?

11.The cheerleading, the competition, their winning, the bee head falling off Jessica? The rules, the victory? Jessica dressing in the suit, accompanying April to the dance? Trying to create jealousy? The encounters with Willy, his fear, running away?

12.Jessica in the male body, stealing, Willy and taking his money, his father’s car? Becoming an exotic dancer, greedy for money?

13.The comedy of change, the stern man at the bar – and later picking the thief up at the end? The toilet janitor and his puzzle, the young man in the toilet? The jokes about bodily functions, male manner? Jessica’s behaviour with the barman at the club?

14.The climax, everybody going to the club, the role reversal, the happy ending?

15.The guest spot from Adam Sandler, his laidback style of comedy?

16.The Happy Madison comedies and their style, their appeal to a broad audience, popular themes, popular humour?

UN FIUME DI DOLLARI (A RIVER OF DOLLARS)

Italy, 1967, 89 minutes, Colour.
Thomas Hunter, Henry Silva, Dan Duryea, Nicoletta Machiavelli.
Directed by Lew B. Beavers (Carlo Lizzani).

A River of Dollars is one of the many spaghetti westerns which were produced by Italy, filmed in Spain during the 1960s. The way was led by Sergio Leone with his Fistful of Dollars and A Few Dollars More as well as The Good, the Bad and the Ugly. Many directors took up the challenge and a whole genre was produced - iconic westerns with gunfighters, ex-army officials, avaricious landowners, widows or wives who didn't know whether their husbands had survived, saloon girls.

Many of the films, as this one and The Return of Ringo, had the return of southern soldiers or northern soldiers, finding their land taken over by greedy owners, the wives either dead or waiting for their husbands, children waiting. There are the inevitable gunfights - very well framed for image and icon impression along with an Ennio Morricone-style score and a ballad sung in English.

1. The popularity of the spaghetti westerns? Their distinctive style? Visuals, widescreen? The Spanish locations standing in for the west? The popular ballad song?

2. The post-civil war period? The tension between the north and the south? The robbing of the Union money, the gun money? The pursuit of the soldiers? The robbers and their almost making Mexico? The decision to stay on the wagon or jump off - the turn of a card?

3. The focus on Jerry Brewster, his losing the bet, his being captured by the soldiers, the empty wagon? The taunts, his being shot in the leg for escaping, five years' imprisonment? The picturing of
hard labour? His getting out, getting his goods back, his fifty dollars taken for an old horse?

4. His return to the house, the letter from his wife, the abandoned house? The gunfighters coming for him, his being helped by Getz? Defeating the assailants? The plan to show Milton that Brewster was dead? The taking off of the tattoo? His pain? Getz and his return to Milton, the grounds that Brewster was dead? His reward in getting a job?

5. Brewster, his going into the town, playing cards and winning, Mendez's men, cheating, the fight, Horner and the saloon members, their being intimidated by Milton? Wanting Brewster to stay and help? The song and dance girl - and her being interrupted because of the high stakes in the game?

6. Milton, having taken the money, his wealth, going to Austin, buying up all the land, cheating the townspeople, murdering the sheriff, Mendez as his right-hand man? The manic style? The henchmen and their cheating at cards, the defeat by Brewster?

7. Mendez challenging Brewster, the group of men fighting him, Mendez giving him a job? His meeting with Getz? The plan?

8. The horses, the planned selling, Horner being warned by Brewster? The ambush, the burning straw, the stampede of the horses, the shooting of the men? Mendez and his anger, Milton? Wanting to find the traitor?

9. The plan to defeat Horner, sending the men into town? Brewster and his chance meeting with Tim, discovering his son? Going to the blacksmith, giving Tim the note, the saloon girl taking the note and not giving it to Horner? The ambush and the deaths?

10. The celebration of five years for Milton, the songs and the dances, Mendez looking for Brewster? Challenging him to drink?

11. Marianne, Milton's sister, not knowing what had happened? Hearing Brewster in his sleep, helping him with his wounds? Wanting to see him at the celebration?

12. The fight with Mendez and his men? Going into town, Getz and Brewster and Tim? The use of the dynamite, the shootings, the defeat?

13. The return to the ranch, pursuing Mendez, Mendez's death? Milton and his killing his servant? Setting him up, trapping Brewster? The confrontation between the two, Brewster using his wits, the death of Milton? The pathos of the death of Marianne?

14. A future for Brewster and his son? The irony that Getz was a federal agent, completing his mission, getting the money back? Concealing Brewster's survival? Making him Sheriff of Austin?

15. The popular ingredients of this kind of spaghetti western?

CRISTOVAO COLOMBO - O ENIGMA

Portugal, 2007, 80 minutes, Colour.
Directed by Manoel de Oliveira.

Colombo - O Enigma is a wonderful film written by Manoel De Oliveira and has Oliveira himself and his wife as significant characters in the film. He directed it at age 98. He was also present at the Venice film festival at age 99 when the film was screened.

Oliveira began making films in the early 1930s and continued for the next 70 plus years. His body of work has been honoured throughout the world. In his later years, he made rather shorter films, very effective including a sequel to Belle De Jour, Belle Toujours.

This film is based on a book by a husband and wife team, who had investigated the background of Christopher Columbus for 50 or more years. They are portrayed in the early part of the film, the husband by De Oliveira’s grandson. In the later part of the film, Oliveira and his wife portray the couple.

The film opens with interesting speculation about Columbus’ identity, an examination of his signature, a look at particular emblems, which indicate the thinking behind his explorations. The film then moves to 1946 with two young men migrating to the United States, following Columbus’ path. In 1957 one of them who has become a doctor, continues his interest in examining the documents about Portuguese exploration. Back in Portugal in 1960, he and his fiancée marry and then go on a honeymoon trip to Cuba, the alleged place of Columbus’ Portuguese birth, and to other monuments, churches, and museums in the Algarve.

The next part of the film is set in 2007 where the elderly couple go to Columbus Circle in New York City, look at the Statue of Liberty and reflect on the meaning of this for the United States, go to Massachusetts where the Portuguese colony live in the United States. They then return to Portugal and to the Azores to examine further evidence of Columbus’ life.

The possibility that Columbus was Portuguese is a speculation. However, the Portuguese De Oliveira is actually creating a film monument to Columbus and to the many Portuguese explorers who, as the film highlights, travelled all the seas of the world. Were De Oliveira not to make another film, this would be a most fitting epitaph for him.

1. The work of Manoel de Oliveira, his long career, directing and acting in this film at the age of ninety-eight? His contribution to cinema? His contribution to Portuguese consciousness? His themes? This film as something of an epitaph for him?

2. The prologue with the documents, the close-up of Columbus's signature, the symbols? The visual style, the historical re-creation of 1946, 1957, 1960? The journey of 2007? Portuguese locations, American locations, the Azores? The piano score and the mood?

3. The title, the title of the book and research? Columbus and his achievement? Portugal and its contribution? The book and the film dramatising the quest of the authors?

4. The theme of Portugal: Portugal itself, the visuals, as a power in the 15th and 16th centuries? The role of the king, the explorers, the visuals of the Atlantic coast, venturing out in the small boats, going to the ends of the earth? The achievement? The reputation of the sailors and explorers, the memories in Portugal, so many absent from the consciousness? Monuments and museums, statues? This film as a monument to those explorers, especially Columbus?

5. Columbus as born in Portugal - true or not? The hypothesis? The evidence offered? The film and the symbol of the guardian dressed in the flag colours of Portugal? Present at all times in the film?

6. The introduction, the explanation of the signature, the phallic symbol, the fact that he was born in Cuba, his original name, parents, mother, Jewish background, noble lineage, the sinister side?

7. 1946, the young Manuel and his brother, looking at the statues, recapping the history of Portuguese exploration? Migrating to the US, following Columbus's path? The end of World War Two, the migrations, the young men and their age, their farewell to their mother, the voyage, talking to the old man on the boat, the talk of family? Hopes for America, the initial fog? The city shrouded? Not able to see the Statue of Liberty? The interrogation by the police in Manhattan, the two passports, nationalities, the suspicion of espionage? The taxi ride, their gazing at their room and its being bare? Going to the restaurant, the advice to work in the factory? The younger brother going to Hollywood and staying there? The older brother becoming a doctor?

8. 1957, Manuel's lecture, his analysis of diagnosis, with patients, with historical documents? The response of the audience, the discussion of Manuel's devotion to history?

9. 1960, the wedding, the long sequence of the words of the marriage vows and commitment, the visuals of the trip, the arrival in Cuba, asking people directions and their not knowing, the churches, the priest and his explanation? The visit to the Algave? The museums? The evidence about Columbus? The husband and wife learning? The bond between the two?

10. 2007, the couple and their age, in New York City, the bright sunshine, Columbus Circle, the statue of Columbus, the statements on the statue, the eagle, the symbolism? The wife singing? The American ideal, the Statue of Liberty, the quotation of America's welcome, the comment that this was not always achieved? The Sephardic Jewish background of the writer of the words? The admiration for America? What Columbus achieved?

11. Going to Massachusetts, visiting the museum, the model ships, the reflection on what this meant?

12. Going to the Azores, the welcome, going to the museum, the discussions with the personalities, their regret at no monuments, the hopes for Portugal's acknowledgment of its heroes?

13. The final sequence, the ferry, the water, the time for reflection on the role of the explorers?

IN THE VALLEY OF ELAH



US, 2007, 124 minutes, Colour.
Tommy Lee Jones, Charlize Theron, Susan Sarandon, Jason Patric, James Franco, Josh Brolin, Frances Fisher, Jonathan Tucker, Mehcad Brooks, Wes Chatham, Jake Mc Laughlin, Victor Wolf.
Directed by Paul Haggis.

In the Valley of Elah is a very fine film, the best of American storytelling. It was written and directed by Paul Haggis who contributed to a number of action films including Casino Royale, but who also wrote the Oscar-winning Million Dollar Baby, wrote and directed the Oscar-winning Crash and contributed to Clint Eastwood’s war films, Flags of Our Fathers and Letters from Iwo Jima. In the Valley of Elah is a writing and directing accomplishment.

Only those well versed in the Old Testament books of Samuel will recognise the reference in the title. Elah is the valley where Saul led the Israelites to confront the Philistines, the valley where Goliath challenged the Israelites to battle and where David with his sling and stone defeated the giant and won victory for Israel. This story is recounted twice during the film, once by the war veteran played by Tommy Lee Jones and the second time by the police woman played by Charlize Theron. It is told twice to a young boy, David, so that he will understand something of what it is to be a man, something of what fear is, something of what confrontation and victory are.

This is one of the earliest films reflecting on America’s participation in the war in Iraq, reflecting on the rights and wrongs on the actual invasion, the incompetence of the Americans in the aftermath, the attitudes of the soldiers in Iraq, the conditions that they worked under, their bigoted and antagonistic attitudes towards Iraqis.

This film should be seen in the context of Brian De Palma’s 2007 film Redacted. Redacted is a much harder film. De Palma uses various devices, the communications media of the present including a video diary, television reportage, television interviews, the work of embedded cameramen and women during battles, internet websites especially You Tube, the chat rooms. By using all of these devices he emerges his audience in the reality of a special squad who are at a particular checkpoint in the city of Samara, their behaviour, their interactions, the hard attitudes they developed while in service, a raid, and, based on a true story, the rape of a 14 year old girl and the massacre of her family.

Redacted is an in-your-face condemnation as well as an alert to the realities of war, not focusing on nobility and patriotism but rather the squalid and cruel aspects which emerged in the media in the immediate years after the invasion.

Much of this kind of material is incorporated into the plot of In the Valley of Elah. The opening credits include some kind of video diary film - which later is sent through e-mail to various characters. Once again, the modern means of communication technology are to the fore. However, this is a narrative film in the American tradition.

Tommy Lee Jones and Susan Sarandon play the parents of a young man who is missing, considered AWOL. He has just returned from Iraq. Tommy Lee Jones portrays the veteran who goes then to Fort Bragg to investigate what has happened. This gives the film the opportunity to take us right into military headquarters, to see the style and life of the soldiers in the fort, to meet the various officers as well as the soldiers who fought with the missing man. It also offers the opportunity for the characters to go into the town of Fort Bragg, to the shops, the takeaway restaurants, and the strip clubs. The film does not stint on presenting these realistic aspects of the background of war.

Charlize Theron plays a local policewoman, a detective, working with her boss, Josh Brolin, with whom she has had a relationship. When it is discovered that the death of the young man and his disappearance took place on army property, the case is taken over by the military (especially by Jason Patric). However, the character played by Tommy Lee Jones is astute, goes to the scene of the crime, realises that the body was dumped on military ground but that the crime took place in the ordinary local jurisdiction.

The film then becomes a murder-mystery and its solving. The plot is complex with Susan Sarandon as the mother arriving to identify her son and grieving over his death. The couple have already lost one child in the military. The film highlights the grief that many American families have felt in the years after the invasion of Iraq.

There is also a sub-plot concerning Charlize Theron and her bringing up of her son - and the occasion for some very moving sequences when Tommy Lee Jones visits the household and encounters the boy with whom he is awkward but with whom he forms a bond.

The film is interesting in its detective work. Various clues are given, followed through and eventually a plot is unmasked. It is not quite what the audience is expecting - and there have been some diversions along the way, especially concerning Mexican drug dealers. This drug theme is very important - even the murdered boy was on drugs, something which his parents would not believe or could not understand, with the other soldiers saying that they concealed this truth because they wouldn’t want their own parents to know. This is another comment on contemporary America, the drug culture, the role of the parent generation and the deceptions of the young.

What is finally revealed is the same kind of attitude that was dramatised in De Palma’s Redacted. There is bigotry against the Iraqis, violence towards them - which has savage repercussions on the emotions and consciousness of many of the young men who have been sent to serve there.

The film offers excellent performances by all, an interesting and intriguing mystery to be solved, an awareness of the reality of the war in Iraq and the occupation, a challenge to presuppositions and expectations about the role of America in the world and its soldiers and occupying forces.

At the beginning of the film, Tommy Lee Jones shows a Latin- American migrant how to raise the national flag, not putting it upside down as he has, that signalling that there is a desperate crisis and the country is in need. Receiving the flag by mail from his son before he left for Iraq, the final gesture of the film is to raise the flag again - but upside down. The message is clear.

Winner of the SIGNIS award at the Venice Film Festival of 2007.

1. The dramatic impact of the film? The narrative? The topical story and characters? Situations? The invasion of Iraq, the occupation? The effect on the United States, citizens, soldiers? The public and public opinion? Government policy? Critique?

2. The work of Paul Haggis, his skill in writing narratives? His direction? An underlying polemic? His stance on Iraq via the story? The context of the murder mystery, Iraq, the United States - the detection, the final revelation?

3. The Iraqi locations filmed in Morocco? The variety of technology for communicating the images: the credits and the digital photos, the mobile phones, computer transmission of images?

4. The American settings, the home in Tennessee and the ordinary life? The contrast with Fort Bragg, the base, the soldiers' rooms, the officers'? The police precincts? The bars, the strip clubs, the takeaway restaurants? The desert terrain, the mountains in the background? An authentic location for this story?

5. The title, from the books of Samuel, the story of Saul and the Israelites versus the Philistines, Goliath and David's defeat of him? Hank and his telling the boy because his name was David, narrating the story, later Emily reciting it for her son? The battle, the challenge, the confrontation, giants instilling fear, patience and victory with a slingshot?

6. The credits, the photos, from the mobile phone? Hank watching? The expert deciphering them and sending them via email? Their content, visual style, light on the mystery, the attack on the Iraqi citizens, the child? Michael, the final revelation of his running over the person in the road, urged on by the others, their hostility towards the Iraqis? The message of his experience?

7. Tommy Lee Jones as Hank, the old-style military, in Vietnam, spit and polish, precise in making his bed, cleaning his shoes? The news of his son's being absent? His relationship with Joan, the years together, the older boy, his joining the military, the sadness of his death in an accident? The mystery about Michael? Hank and his deciding to go to Fort Bragg? Joan and her grief? Getting the help of an old friend - but finding that he had retired from the army? Going to Fort Bragg, settling in, the visit to the base? The encounter with Sergeant Carnelli, his friendliness, introducing him to the various men, showing him round, Michael's room? The meeting with Lieutenant Kirklander and his being the official? Meeting the men who served with Michael: Long, Bonner, Penning - and the absence of Ortiez? (And the fact that the actors playing Bonner and Penning had actually served in the military?)

8. Hank and his making enquiries, filling in forms, getting rejected? Being referred back to the army? His encounter with Emily, watching her deal with the woman whose dog had been killed in the bath (and the irony that the woman was finally murdered by her military husband)? Emily and her inability to do anything? Her fellow officers barking and joking at her? Emily losing her patience? Her reaction to Hank? His frustration?

9. The body found, the information about the body, the police called in, the graphic state of the body, the photographs, Emily and the investigation? The military coming in and taking over? Kirklander and his official work? Hank and the talk, going to identify the body? His grief? Communicating with Joan? Her coming?

10. His discussions with Emily, going to the site, looking at the photos, the military photos? His seeing that the body had been dragged, that there was blood on the side of the road, that the car was blue, looking green under a light? Talking with her? Her being persuaded?

11. Emily and her interaction with the boss, the intimations of the past relationship? His agreeing to phone the military? The men in the squad and their references to her affair? Her taking on the case,
Kirklander and her demands? The documents, wanting to interview the men, comparing their stories?

12. David, Emily's life at home, love for her son, putting him to bed, his wanting the door open for the light? Bringing Hank home for the meal, his enjoying it, wanting to wash up, telling David the story about Elah? David wanting the door only slightly ajar? And later wanting a slingshot?

13. Hank and his expertise, his reactions to the information? Emily and her telling off the other police, indicating the nature of their poor detective work? Tracing the credit cards? Finding times and places, the chicken restaurant and the fact that four ate the meal, going to the topless bars, getting people to recognise the men? The waitress at the topless bar, her encountering Hank, her talking with Hank, offering sympathy, giving an indication of a different time? Hank and Emily following this through? Going to the bouncer at the bar, getting his information about the drinking, the fighting, his ousting them, making a statement?

14. The possibility that the death was drug-related? The background of the desert, the Mexicans, drug dealers and their decapitating their victims? The men and their dependence on drugs, including Michael? Their lying, not wanting to tell Hank, their not wanting to tell their parents the truth? Their contacts and dealers?

15. The continued search? The finding or Ortiez's address? Raiding his house, the chase along the roof? His being interrogated? His being innocent?

16. The interviews with the various men? Bonner and his close friendship with Michael, serving in the Balkans? Long and his being interrogated? Penning and his story? Long being found dead, hanged in his room?

17. Joan, her coming, identifying the body, her grief? Her return home? The parcel in the post?

18. The continued searching, the interrogation of the men? Bonner finally telling the truth? The disputes, the fights, the accidental killing of Michael? Long being a butcher, able to dismember the body and hide it? The angers, the memories of Iraq, the disputes about what happened with the car and the hit-run? Its taking its toll? The fact that any of them could have been killed - and all the others, including Michael, could have done it?

19. The effect on Hank, his knowing the truth? The effect on Emily, her having done her duty, exercised her skills? The farewell?

20. Hank, his return, the parcel at home? The flag?

21. The symbolism of the American flag - on his way to Fort Bragg, Hank stopping and talking with the Latin-American? who had put the flag on the pole upside down? Hank's explanation that the upside down flag was a sign of crisis and an appeal for assistance? His taking the flag at the end - and raising it upside down? The clear meaning of that message in terms of America at the beginning of the 21st century, America's self-consciousness, its role in the world, the invasion of Iraq, the occupation of Iraq, terrorism, brutality - and the need for America to examine its conscience?

SMALL GODS (ELENA'S ELEGY)

Belgium, 2007, 91 minutes, Colour.
Steffi Peeters, Titus de Voogot, Louiza Vander Woestijne.
Directed by Dimitri Karakatsanis.

Small Gods (Eleanor’s Elegy) is a first film written and directed by Dimitri Karakatsanis. It was made in Flemish language, the director having done his studies in Belgium. Some sections are in French.

Basically, this is a road movie. It opens with the road, a tunnel, a car accident. It then moves to a hospital where Eleanor is grieving the death of her child in the accident. She is taken away by two mysterious characters and goes on a journey with them throughout the countryside, encountering all kinds of unusual people including a very strong religious revivalist preacher. She begins to understand herself, feels that this is the right place to be, also tries to understand the two people she is with, especially the young woman who has been abused by her father. The context of the film the capture of Eleanor by the police and her being interrogated, her explaining what had happened to her as well as this being visualised. However, one soon realises that the interrogator is the equivalent of God. She is in a kind of purgatorial examination of her consciousness and her life. This gives the film the blend of the real as well as the surreal and gives it some religious dimensions in terms of identity, responsibility, the role of God and judgement.

1. The impact of the film? A small drama? The first film by the director? His visual style, narrative style? Message?

2. The titles, the focus on Elena? The focus on the God issue? God himself, the representations of God, angels, devils? The Christian background - made explicit? The preacher? The lyrics of the songs?

3. The terrain, the road movie, the Belgian countryside? The office, the river, the caravan? The violence? The musical score?

4. The opening, the road, the tunnel, the car crash, Elena in hospital, mourning her dead son? Was Elena dead or alive at this point? David coming to rescue her?

5. The framework of her telling her story to the police, to God? Was it clear that the individual represented God? Assistant? God's response - wanting to believe? Uncertain?

6. Elena's journey, feeling right with David and Sarah? The abduction from the hospital, the escape? With them in the caravan? Their travelling the roads? The people that they encountered on the road, the caravans, the cars? The religious preacher?

7. The character of David, his reason for taking Elena from the hospital? His treatment of her, the interactions, love for her? Sarah, the friendship, the bond between the two - leading to the gradual revelation of what had happened to Sarah? The brutality of her father, his violence, her violent reaction towards him?

8. Elena and her experiencing these two characters, the other characters - and a time to mourn her son as well as to examine the meaning of her life?

9. The purgatorial overtones? Intimations of judgment? Life, afterlife?

KANTOKU BANSAI! (GLORY TO THE DIRECTOR)

Japan, 2007, 104 minuntes, Colour.
Directed by Takeshi Kitano

Takeshi Kitano is one of Japan’s best known directors. After a series of crime films in the 1990s, he won the Venice Golden Lion for Hana- Bi. He has continued to make films that get world wide release. This film is a playful examination of his career.

It begins with a dummy/doll being examined for an ECT. During the film Kitano and the doll interchange. There is also a voice-over commenting on the current films that he has made, and it starts with a gangster sequence with a massacre and a comment that he promised not to make this kind of film again. What follows is a number of spoofs on the various types of films popular in Japan in the recent years. He tries his hand at a romance - but it is rather boring. He imitates the style of the celebrated Ozu - and this is also boring. He tries his hand at a horror film and it is quite effective. He does some martial arts in the crouching tiger vein and sends them up.

He also tries something with special effects and also a space film- at this the film veers towards a particularly Japanese audience where he draws on his audience's knowledge of comedy styles in Japan, Kitano’s own television programmes and characters. Much of this is lost on a non-Japanese audience and does not seem particularly funny. This goes on for quite a long time with some comic characters, especially a mother and daughter who want to marry the hero, are angry with the doll and burn him, and find themselves in the midst of crises.

Kitano himself appears in all these films under various guises - and his deadpan appearance is quite suitable to the kinds of spoofs and comedies that he presents. However, it is a film for Japanese audiences - and for those who are following the career of Kitano.

1. The reputation and career of Takeshi Kitano?

2. His films for a Japanese audience, universal audience? The reference to his films here? His career as a stand-up comedian? Television compere? Using the traditions of Japanese comedy?

3. The opening, the ECG examination of the doll? The doll throughout the film - as a representation of Kitano? His real appearances and the interchange?

4. The variety of styles in the film: his tribute to and imitation of various styles in Japan's cinema history: his own violent films and the shootout, the representation of the Ozu-type film and commenting that it was boring, the romantic film - and it not being satisfying, his variation on the horror genre, the martial arts and the spoofing of the stunts? CGI, space epics? The comic long story? His skill in parodying all the genres? And his presence in them?

5. The voice-over, the comment on his career, producers' expectations, the audience? The Japanese film industry? And his place - and trying to be creative?

6. The entertaining parodies? His skill in making them authentic? A comment on Japanese audience tastes?

7. The story of the women, the mother and daughter, eating the noodles, their complaints, the violent reaction to complainants? Their meek response? The later experience of noodles and their not liking them?

8. The story of the women, their travels, what they represented? The encounters? The marriage plans? The encounters with the doll, with the real Kitano? The build-up to the visit to the countryside, the parents working in the countryside, the reaction to the marriage, the marriage ceremony itself, the women working in the fields - planning their escape? Their getaway?

9. The blend of realism, fantasy and comedy? The reliance of Japanese audiences understanding the styles and the humour?

10. A film for movie buffs, fans of Kitano - and Japanese audiences?

DISENGAGEMENT

Israel, 2007, 115 minutes, Colour.
Juliette Binoche, Liron Levo, Jeanne Moreau, Barbara Hendricks, Dana Ivgy,
Hiam Abbass.
Directed by Amos Gitai.

Disengagement is a topical film by Amos Gitai. For 15 years, Gitai has been making a number of documentaries and feature films many of which focus on the situation in Israel. He has delved into the history of Palestine and Israel in Kedma, the world of the Orthodox in Kardosh, the interaction between Palestinians and Israelis in Freedom Road.

This film is set at the time of the disengagement of the settlers on the West Bank particularly in Gaza. However, it is situated in a story where a French woman is burying her father and her step-brother, from Israel, comes to join her. 20 years earlier, she had given up her daughter who now lives in a Kibbutz. When her father leaves his possessions to her daughter, she joins her step-brother and returns to Israel at the time of the struggle, physical and religious between the settlers and the police.

Juliet Binoche is the French woman. Israeli star Liron Lievo is the step-brother. Singer Barbara Hendrix performs Marhler’s Song of the Earth. Jeanne Moreau appears briefly as the lawyer who communicated the will.

The film is a reflection of the struggles in 2005. Gitai himself says that he is against this kind of Israeli settlement and hopes that go beyond slogans, ethnicity issues in order to transcend their differences and to make peace and harmony in the Middle East.

1. Amos Gitai's work? The 90s and the 21st century? The impact of his explorations of Israel's life? Relationship with the Palestinians? Historical films? Topical films?
2. The impact of the film for an Israeli audience? Secular audience? Religious audience? For Palestinians? For the worldwide audience? The film as enlightening? As emotional? Presenting the sides of the settlers? The Israeli government and the police?

3. The work of Gitai, his vision of Israel? His vision for the Palestinians? His stances? His point of view?

4. The Gaza settings, the kibbutz and the settlements, the bases? The contrast with France and Avignon?

5. The musical score, Hebrew songs? Mahler's 'Song of the Earth' sung for the dead father?

6. The prologue of Uli in the train, chatting with the Palestinian woman, her international passports, her international travel? The bond between an Israeli and a Palestinian? The passport difficulties, the stances of the guard? Suspicions? Their symbolic passionate kiss between Israel and Palestine?

7. The prologue of the house in Avignon, the long tracking shots and the tour of the house? Discovering the father dead? The singer? Mahler? The body lying in state? Ana coming in?

8. The situation, Ana and her relationship with her father, Uli as her stepbrother, her husband being absent, her talk about him, the planned divorce? The impending disengagement of the Israeli settlers and Uli's part in it? Their discussions, the bonds between the two? The experience of the funeral itself? Meeting the people present? Her father and his attitudes? His multicultural background? (Forbidding Ana to learn and speak Hebrew?)

9. The lawyer, the reading of the will, her explanations of the gifts to Dana? The discussion about Dana - and Ana having given her up at birth? Her staying in Israel? The beginning of a quest for Ana?

10. The decision to go, giving Uli the haircut, the car, transporting it by ship, the arrival in Ashdod? The military, their abruptness, the plan? Uli having to go to base? Sending his friend for Ana, her being furious, the drive, the permits and their not being allowed into the settlement, the driver and his persuasive arguments? Her going in?

11. Uli, his exasperation with the military, the accident with the car, his being upset, symbol of his anger? The drills, the rehearsals for treating the settlers? The lines of police, the advance, parting for the horses? How to carry the settlers to the buses? Non-violence, with civility? How to deal with the international press? The various officials - Tormer and his angers, in the midst of a divorce?

12. Ana, her finding the group, sitting by the fire, the trek in the desert, the singing and dancing of Israeli songs? Finding the house with Dana, watching her with the children, the paint, the long shot of the embrace? Their talking together, Dana showing her the herbs, letting her rest in the house, the preparations for leaving?

13. The riots, the police and the military going in, the rabbi and his resistance, the men, the women? The struggles?

14. The camera finding Ana as she passed by the women singing the songs, going into the area of the men with their headscarves? The rabbi? The Torah? Uli sending the troops in? The physical struggles? The rabbi and his wanting to make the speech, to get the Torah removed? The bus? Getting the children on the bus?

15. Dana, going with Ana into the house, getting the plants, the demolishing machinery, Dana and her being carried off, her protests, in the bus, separated from Ana?

16. The Arabs and their watching, their speech and poetry, talking to Ana, her listening - Dana telling her not to speak with Arabs?

17. Ana, meeting with Uli, separated from Dana, her outburst of grief and weeping?

18. What was the audience left with in terms of watching this experience of disengagement? The settlers and their being disengaged? The history of Palestinian disengagement? Ana and Uli and their disengagements from their past?

THE DARJEELING LIMITED

US, 2007, 91 minutes, Colour.
Owen Wilson, Adrien Brody, Jason Schwartzman, Anjelica Huston, Bill Murray, Barbet Schroeder.
Directed by Wes Anderson.

Very limited.

The film was co-written and directed by Wes Anderson who has become something of a cult figure in American cinema for off-beat comedy: Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou. This film is not as good as these previous films although many audiences have found it admirable and entertaining. However, it is difficult to know whether the name Wes Anderson is an explanation or an excuse.

The film will be enjoyed by those who like slacker comedies for the sake of slacker comedy. Those who do not enjoy slacker comedy for its own sake - without some sense of irony, some sense of purpose, even some form of sentiment, will find the film somewhat stupid and, sometimes, distasteful.

The title indicates India and it shows three brothers, three nongs, meeting in India go on what they think is a life changing quest. However, it is not so much a spiritual journey or a life-saving quest, but rather a shallow excursion into some kind of self-understanding which may, or may not, last. For many Indian audiences, the exploitation of their land, people, religious rituals and customs may also appear as very exploitative and patronising on the part of Americans, who feel that they can come into a land, take over, and achieve their spiritual quest.

Perhaps that is taking the film too seriously. It is meant to be light-hearted. Owen Wilson portrays a slacker, characteristically, but is also uncharacteristically a control freak. Jason Schwartzman (who wrote the screenplay with his cousin Roman Coppola and Wes Anderson) is a narcissistic, lascivious brother. Adrian Brody is the middle brother - who does share some signs of potential normality and some kind of integrity but the screenplay does not allow him to follow this through.

The film has the characters getting on and off a train - put off with just fine reasons at times. However, one of the times they are off the train leads them to an act of nobility, trying to rescue some boys in a river and a waterfall. When one of the boys dies, the community accepts them and invites them to the funeral, sees them off as heroes. They are really on a journey to meet their mother who has withdrawn from the family in Boston and become associated with nuns in the Himalayas. When they finally reach her, we find that she is played, quite well, by Angelica Houston.

Bill Murray has a cameo role as a man who misses the initial train. There are some Indian performers - who are cast in some caricature, stereotypic and slightly demeaning roles.

The film is preceded, not in theatres, but on the DVD with a Part One, a 13 minute short film, Hotel Chevalier, where the Jason Schwartzman character has been in seclusion in this Paris hotel for some time, meets up with his girlfriend, played by Natalie Portman (who appears in a glimpse in the Darjeeling Limited but this story is referred to). The film then becomes Part Two. However, during the funeral of the little boy, there is a flashback to the funeral of the three brothers’ father (and some farcical aspects concerning his car, the mother not being there, their being late for the funeral).

In terms of editing, this slows up the film and the boy’s funeral seems contrived just to have this flashback. It might have been a good idea to excise this from the feature film and have it as a second short, it becoming Part Two and the film itself becoming Part Three. It is quite effective, as it is at present in having the short at the opening of the film and then going into the film.

Wes Anderson’s comedy is certainly an acquired taste.
1. The popularity of the film? Impact? Divided opinion about the humour, the content? The use of India - exploitation or not?

2. The films of Wes Anderson, his offbeat comedy, odd characters, stances, families, interactions? Dysfunctional people and families?

3. The Indian locations, the open countryside, the towns, the train, the road, the mountains? The monastery? Authentic atmosphere? Musical score - Indian rhythms?

4. The prologue, Hotel Chevalier? As separate from the film? Jason Schwartzman and his life in the hotel in Paris, his character, type, the arrival of his girlfriend, her phone call, the relationship, the meal, sexuality, the aftermath, the effect on each of them, the break-up? The references to this episode in the film? The girl seen in the summary of characters in the train? The final words of the short story and the references to the words in the film?

5. The funeral, the possibility of its being excised and being made a second short? For the benefit of the film itself? The father's death, the three brothers, their arguments, the father's possessions and the division, the car, the keys, the mechanic unable to fix the car, Peter and his insistence, driving out into the road, his confrontation with the truck driver, giving in, Peter's wife, the mother not turning up? The references in Jason Schwartzman's short story? Their discussion with their mother, her motivation for being absent?

6. The opening, Bill Murray running to get the train and missing it, Peter racing, getting on? The repetition of this running for the train during the film?

7. The three brothers and their relationship, the distance between them, growing up, Frank in charge? Owen Wilson and his style as Frank, the control freak, the plans, A, B and C, making the decisions? The cards, the meticulous detail? Brendan as his helper (and warning them not to insult Brendan and then finally doing it himself, wanting him back)? The cards, the pacts, no secrets - and his discovering the brothers' secrets? The official on the train? Rita and her reaction? Peter and his being more ordinary, the belt, the glasses, the car keys, Frank wanting them, giving them back as a birthday present? The secret about the pregnancy of his wife, his not being able to face up to fatherhood? Jason Schwartzman, the Paris story, the attraction towards Rita, the sexual encounter with her, narcissistic, lascivious? His short story? The return ticket?

8. The behaviour in the carriage, their talk, the episode with Rita? Rita and the guard? The stereotypes?

9. The train stop, the timetable, hurrying, the buying of goods, the shoes, the shoeshine, the children robbing the shoe, the buying of the snake? The prayer? Their religious attitudes and backgrounds? Using the Indian forms? Hurrying back to the train? The snake loose and getting out, the official confiscating it?

10. Their being ousted from the train, walking, discovering the boys in the river, the accident, Peter carrying the dead boy back to the family? The father and his grief? Their being received well by the villagers? Going to the bus, the crowd coming and inviting them to the funeral, the flashback to the father's funeral, their staying, the final departure?

11. The decision to go home, at the international airport, changing their minds? The quest, the spirituality, life changing - wanting some purpose?

12. Going to see their mother, the difficult journey, the arrival, the convent, the mountains, her reaction?

13. The character of Margaret, her sense of freedom, relationship with her husband, with her children? Planning, ABC, pacts - the same way that Frank organised his brothers? Relating to the boys, the discussions? Her work? Her disappearance?

14. The day after, the impact of her going? The journey together, running to get on the train, letting their luggage drop? Returning to what? The nature and quality of their search? Of their journey and quest? Deep or shallow?

IL DOLCE E L'AMARO

Italy, 2007, 98minutes, Colour.
Luigi Lo Cascio, Donatella Finocchiaro, Tony Gambino..
Directed by Andrea Porporati

Il Dolce e l’Amaro is yet another strong Italian film about the Sicilian mafia.

This film takes place over a period of 20 years, beginning with the introduction of the young boy, Saro, to his imprisoned father, discovering that he is killed soon after. The adult Saro comes under the influence of Gaetano (Tony Gambino) who sponsors him as his son, competing more successfully than his own son in the criminal world. He is set up after coming out of prison for robbing a woman of her jewellery in a gas station - which is a cover for ambitious bank robberies that take place in Northern Italy, the criminals travelling back and forth by plane. He is then initiated into the Cosa Nostra, the allegedly “honourable men”- who show no sense of honour in their cruelty and betrayal.

He flees to Northern Italy, meets the love of his life, sets up there after communicating with a judge who is a friend from childhood but whom he had attacked. He makes a full confession to the judge - and confesses it was he who was to kill him. The judge states that part of the bitter and sweet of his own life is to have the possibility of death (which does occur).

The film ends on an upbeat note, the young Mafioso changing his life - and experiencing a similar bank robbery that he perpetrated years earlier in which he gets an uncontrollable fit of laughter. Laughing at the folly of the world of the Mafiosi.

1. Italians on the Mafia? The portrait? The history? The moral judgment? The city of Palermo investing in this film - anti-Mafia? The impact of the Mafia at the beginning of the 21st century?

2. The Palermo settings? The city? Islands, the prison? The beaches? The contrast with Turin and the north? The musical score?

3. The title, as explained by Gaetano as well as by Massirenti at the end? In Saro's life? His accepting this?

4. The opening, Saro and his brother and mother, on the boat with the carabinieri, going to the prison, the director sending him in, the meeting with his father? The only meeting with his father? The
guards going in and killing his father?

5. The initial scene with Gaetano, looking at the sun, Gaetano forcing him to say that it was the moon? Saro admitting seeing things through Gaetano's eyes? Gaetano as his godfather? His father's best friend? Gaetano's own son Mimmo, ineffectual? His father wanting him to be with Saro to learn?

6. The portrait of Saro: at a young age, the years passing? His background, his father in prison, his godfather? His being chosen, knowing only the delinquent and gangster way of life? His being patronised by Gaetano? The friendship with Mimmo? His relationship with Ada, love, the proposal, her refusal, not wanting to be with him as he was, his violence towards her and her being hurt? His seeing her with Massirenti, his brutality in bashing Massirenti, Massirenti not defending himself but challenging him? His admiration for Massirenti, a boyhood colleague - and relying on him at the end? The socials, the party, delivering cocaine to the wealthy? The encounter with the woman with the wig, learning sexuality, deciding to rob her? The arrest, his pride, in jail, his portrait being painted by the artist, his being patronised by the senior gangster, praised? Coming out, Gaetano and his reprimanding him for what he had done? Setting himself and Mimmo up with the service station, his enjoying it, as a cover for flying north, the bank robberies - and the touch of lunacy with the man unable to speak the dialect and people not understanding him, the teller and her fear, the translator helping, taking the money? Getting praised? The mission in Milan, the photo, the target? Mimmo going, climbing the steps, waiting at the lift, the plan, Mimmo and his freezing, Saro and his killing the two men, in the lift, covered with blood, the escape? Letting off steam afterwards with the women, the dance? Mimmo and his bravado, covering up, Saro saving face for him yet Gaetano knowing? The time passing, the celebrity life? The party, being inducted into the Cosa Nostra, the drawing and the burning, the ritual, yet Uncle Pietro and his humiliating Gaetano? The consequent work, status? Mimmo and his inability to do things well, singing, dancing? The resentment of Saro and thinking he had told his father? The further commission, to kill the judge? The insinuations by Uncle Pietro and the group that Gaetano had betrayed his father and ordered his killing? His visit to the don in the prison? His being convinced, picking up Gaetano, the final talk, Gaetano accepting his fate? Saro escaping the thugs? Working out what had happened, that he'd been set up to believe the lies about Gaetano to get rid of him? His fleeing to northern Italy, finding Ada? The sudden arrest? His working in the drycleaners and liking it? With Massirenti, Massirenti's words, his decision to confess, that he was to kill him and didn't, the further confession? The witness protection scheme, going back to northern Italy, with Ada, her pregnancy? The family? Working in the kiosk? His reflection on his ways, a different way of life? The symbol of the bank robbers and his fit of laughter at what they were doing? His future?

7. Gaetano, the don, his dontrol, the people coming to him for help? Wanting things done - and Mimmo and Saro burning down the shack on the beach? Going swimming with the girls? Saro proving himself, Mimmo ineffectual? Mimmo's lack of character? The garage after the jail, the robberies? The mission in Milan, Mimmo boasting, unable to fire, the aftermath and his singing? His father knowing the truth? His marrying? His child? Feeling betrayed by Saro?

8. Ada, the teacher, her relationship with Saro, love for him, refusing the proposal? Unable to live with a gangster? Her friendship with Massirenti? Going north, the farewell, Saro wanting to celebrate his induction, the meal, her leaving, the brutality of his rape, her bitterness towards him? Her going to the north, Saro finding her, the bond between them? The pregnancy and his arrest? The return, the happy family?

9. Saro and his marriage, the choice of his wife, the pregnancy? The going to the beach, wanting to park, meeting the judge and talking with him? Saro abandoning his wife and child, never seeing them again?

10. The portrait of the dons, in prison, waited on hand and foot by the police, insulting the police? The artist in jail? The don’s signing the paintings? Uncle Pietro, his commissions? Gaetano and his role? Their getting rid of Gaetano and setting him up?

11. The character of Gaetano, a loyal don, his part in the committee, his being humiliated at the induction, his love for Saro, dissatisfaction with his son? Accepting his death?

12. The world of Palermo, ordinary people, the pervading presence of the Mafia, dependence on them? High society, wealth, luxury and drugs?

13. Saro, from an ordinary world, becoming more than he expected - and finally reflecting on what he really wanted out of life, Massirenti explaining to him that whether he lived or died, he had made a
free choice? Saro and his final choices?