NINE

US, 2009, 118 minutes, Colour.
Daniel Day Lewis, Marion Cotillard, Penelope Cruz, Nicole Kidman, Judi Dench, Kate Hudson, Sophia Loren, Fergie (Stacy Ferguson), Ricky Tognazzi.
Directed by Rob Marshall.

This reviewer was well disposed to liking Nine because of his admiration for the film on which it is based, Federico Fellini's 8 ½, very high on his list of all time great films. Fellini created a memorable character in Marcello Mastroianni's Guido, a director in the 1960s who has writer's block. He is also entangled with a number of women, his wife, Luisa, his mistress, Carla, his cinema muse, Claudia, his mother, and memories of Saraghina, a large woman on the beach of his childhood who initiated the young boys into the mysteries of sexuality. Fellini, drawing on his own experience, created a complex portrait of a man in emotional and career crisis.

Upping the ante by ½, playwright Arthur Kopit adapted the film for Broadway and Maury Yeston wrote the songs for this musical version. It opened in 1982 and won the Tony for Best Musical of that year.

Now, almost 30 years later, Rob Marshall, who directed Chicago and Memoirs of a Geisha, has brought the play to the screen and acted as one of the choreographers. It is a lavish production and has a very starry cast, especially the women, with Daniel Day Lewis as Guido.

There has been quite some dismay that it did not set the box-office alight as Chicago did. But, given the Fellini origins and the musical's following the outline and some details of 8 ½, what is called an art-house film, one might really ask just who is the potential audience for the film. It isn't the broad audience who wants to have alight night out see a musical version of Legally Blonde. It isn't the audience that wants a show with toe-tapping rhythms and tunes (though the belting out of Be Italian does have its moments). It's the audience who admire 8 ½ (who don't necessarily approve of a musical version of it) or who respond well to something offbeat and arresting.

Nine is offbeat and arresting. It continues to be set in the 1960s though two years after the release of 8 ½. It is, despite the showbiz glitter, very Italian in tone and accent. And it is rather downbeat over all with Guido experiencing a breakdown, hurting the women in his life and having to re-assess himself and admit that he is callow, philandering and becoming emotionally and morally bankrupt. Fellini's film ended with all the characters joining hands and dancing in a large circle of life to Nino Rota's score. This exuberance is missing from the end of Nine but an arresting substitute is presented as a rejuvenated Guido returns with all his leading ladies on the sound stage as he begins a film on his experience, looking like the opening of the film of Nine. And, alive again, he calls, 'Action'.

Needless to say, no expense has been spared on lavish theatrical sets nor, especially, on the musical numbers. These songs and performances contribute to the plot development but are principally a showcase to introduce and explain each of the characters. The musical style is very different for each of them, big numbers, monologues, showstoppers, recitatifs. While most of the cast are not well-known as singers, their acting abilities bring the songs to life.

Daniel Day Lewis is an actor who immerses himself in each role and is completely different from film to film. His last was the Oscar-winning performance as the ruthless oil baron in There Will Be Blood. Here, replete with broken English accent, he embodies the Italian director, his talent and his waywardness. The women are all good, each in their own way. Marion Cottilard, who won her Oscar for portraying Edith Piaf, is Luisa and has two songs, one plaintiff, the a striptease grinder . She is a strong character, independent, hurt but refusing to be victimised by Guido. She contrasts with the sexy verve of Penelope Cruz as Carla who has her moments of depression as she is rejected. Sophia Loren, now a grande dame of 75, is the mother. Nicole Kidman who has the difficult role of being the embodiment of goodness and inspiration is Claudia. Kate Hudson has a showstopper as an American journalist for Vogue. Stacy Ferguson (Fergie) is Saraghina and sings Be Italian to great effect. And, finally, there is Judi Dench as Guido's mentor, costume designer and make-up artist who is given a Piaf-like song, Folies Bergere.

A serious piece of musical theatre which shows its stage origins but is dazzling to look at and to listen to and stimulates reflection on its themes.

1.The impact of the film as a musical? Piece of musical theatre? Style?

2.The status of 8½ as a cinema classic, Italian classic, Federico Fellini? Autobiographical? The transition in the 1980s to Broadway, the adaptation of the plot, the storyline and characters?

3.The songs and their staging, the visuals, lavish, costumes, stage design, the song adapted to each character, the lyrics illustrating character? The positions in which they were inserted in the screenplay?

4.The choreography, the glitz? Relating all this to the basic ethos of 8½?

5.Fellini and his creation of Guido Contini? The achievement of the film? Critical praise? The public? The criticism of Guido, the public’s response and their comments about his earlier films being successes?

6.Daniel Day Lewis as Contini: the initial song, the lyrics, illustrating his character, the movements around the set instead of a dance? Guido and his age, dress, relationship with his agent, avoiding the press, the press conference, his answers, flippant, his disappearing? The issue of the new script, calling his film L'Italia? Not having a script? The effect on him, on his agent, on those around him? His decision to go to the spa, the coast, where he grew up? His keeping it secret? The phone calls to Luisa? Not telling her where he was? Carla’s arrival, his decision to install her in the pensione, going around the town, the sexual encounter? The consequences? Stefanie and the reporter from Vogue, his discussions with her, her attempts at seduction? His discussions with Lilli? His imagining Claudia, his muse and inspiration? The various appearances of his mother? The group turning up at the spa? The background of the Catholic church, Fellini and religiosity, the bishop and the discussions about sin and responsibility, Guido’s attempts at confession, discussions with the priest who wanted to talk about his films? The flashback to Saraghina? Luisa’s arriving, Carla coming to the hotel, his being caught out?

7.Luisa, her past stardom, cast by Guido? The success of her films? The marriage, a devoted wife, the concerned phone calls, the experience of betrayal? Her initial song and the plaintive tone? Her arrival, the meal, seeing Carla, her reaction? His inviting her to the screening of the auditions? Her reasons for coming? The contrast with her second song, the striptease song – as Guido saw her, perhaps? Her final decision to leave Guido?

8.The contrast with Carla, Penelope Cruz and her style, the sexy appearance, the song, its lyrics, issues of morality? Emotional, leaving her husband, coming to the town, not wanting to go to the pensione, feeling hidden away? The sexual relationship? Her loneliness, coming to the hotel, spoiling the evening? Her reaction, attempted suicide, her husband coming to take her away? Guido’s encounter with the husband?

9.Judi Dench as Lilli, her work, costumes, makeup? Confidante for Guido? Confidante for Luisa? Her staff? Working with the group, her ideas about the film? Her song, Follies? Mentor and conscience?

10.Kate Hudson as Stefanie, the Vogue reporter, the press conference, seduction, her 60s-style song and dance?

11.The contrast with Nicole Kidman as Claudia, ethereal, finally appearing, wanting to see the script, the photo shoot, her decision to leave?

12.Saraghina, her place in Guido’s past, with the boys, sexual initiation? The song, Be Italian – and its reprise during the final credits?

13.Guido’s mother, as played by Sophia Loren, appearing in Guido’s memory and imagination? Her hold over her son, his loyalty to her and love for her?

14.The agent, his smooth talk with the press, relationship with Guido, the pressures, moving the team to the hotel? The work ethic?

15.Guido, the work, the effect, a breakdown? Two years away from the industry? Occupying himself?

16.The return, assembling everybody, the reprise of the opening scene, all the women appearing, the ending and the place of the women?

17.The musical as an adaptation of theatre – for an art house audience?

LA TOURNEUSE DE PAGES (THE PAGE TURNER)

France, 2006, 85 minutes, Colour.
Catherine Frot, Deborah Francois, Pascal Greggory.
Directed by Denis Dercourt.

This brief and atmospheric drama reminds us how much can be packed into 85 minutes by a skilled director. Denis Dercourt is not only a film-maker but has been a viola soloist with the French Symphony Orchestra (1988-1993) and teaches viola and chamber music at the Strasbourg Region National Conservatory. He brings his musical, writing and directing talents together most effectively in this story of music and obsession.

The film initially focuses on 12 year old Melanie, daughter of butchers, their pride and joy, especially in her talent at the piano. When she goes for her exam, something seemingly petty happens – but it changes her life and the life of the president of the judges. Melanie deliberately gives up the piano and broods.

When she gains an internship with a reputable lawyer, she has the opportunity to act as a companion for his wife and son. The wife is a famous pianist, recovering from a car accident and trying to regain her courage. Sweetly and quietly, Melanie becomes not only part of the household, she forms a bond with the son and becomes the wife’s page-turner. Not exactly the stuff of action drama! Nevertheless, given the psychological background to Melanie’s ingratiating herself with the family, it becomes quite a gripping study in obsession and revenge. Without a blow being struck (except for the viola wound to the player who makes unwanted advances), this is very cool-blooded revenge.

The performance of Deborah Francois is a perfect blend of gentility and malice. Audiences may remember her powerful role as the young mother in the Dardennes Brothers’ The Child. Catherine Frot matches her as the pianist.

The overall plot reminds us of those dramas where a stranger enters a household and transforms (for the worse) the life of each member of the family (from Joe Orton’s Entertaining Mr Sloane to Pasolini’s Teorema). This version is low-key and subdued but nonetheless effective in portraying malevolence and cruelty.

1.The impact of this brief film? As drama? Revenge? Bloodless – but complete?

2.The setting, the small town, the butcher shop and home, the contrast with the lawyer’s office, the wealthy home, the radio theatres, concert halls? An authentic feel, realism?

3.The musical score, the pieces for the different characters? The concerts?

4.The background of Melanie, aged ten, determined, love for music, the bust of Beethoven? Her practising during the credits? Her relationship with her mother, her mother’s support? Her father ignorant, but liking to listen to his daughter playing? The background of the butcher’s work? The finding of the money to support Melanie whether she passed or failed her exams?

5.Going to the recital, her expectations? With her mother, waiting, the other girls practising? Her performance? The interruption, the response of the judge, signing the document? Melanie stopping playing, looking at the judge? The judge urging her to continue? Her composure disturbed, her failing, the reaction of the board? Her simmering anger, exit, slamming the piano top on the fingers of the girl? With her mother?

6.Ten years later, the festering of this hurt? Her going to the lawyer, the interview, offering to work? Her diligence? The opportunity to babysit Tristan?

7.Going to the house, being introduce to Ariane? To Tristan? Her duties while the father was away? Listening to Ariane and her practice, turning the page? Ingratiating herself with the family, looking after Tristan? Tristan and his holding his breath underwater – and Melanie holding his head down and then telling him he broke his record? The cello player – his advances, her stabbing his foot with the base of the cello? Her seeming innocence? Ariane and her dependence on Melanie? Going to the radio concert, Melanie’s support, turning the pages?

8.Ariane, her age and character? Her relationship with her husband, with her son? Her being in the car accident, losing her confidence? Her practising? Her friendship and discussions with Virginie? The cello player and the clashes? The American agent? The concert, her nervousness, buying Melanie the dress? The success of the performance, her dependence on Melanie? The preparation for the recital for the American? Melanie and her meeting the young man in the shop? Ariane observing? The build-up to the audition, Virginie and her suggestions about Melanie? Ariane and her determination? Her concert, Melanie not turning up, the poor performance? Melanie and her looking in, standing outside? Ariane and her disappointment?

9.Virginie talking with Ariane, Ariande disturbed, her infatuation with Melanie? Melanie asking her for the autograph, for the photo? Her leaving the photo on the husband’s desk for him to find?

10.The husband’s return, Tristan and his preparing for the performance, Ariane and her hoping for a new lease of life? Telling Melanie that she had enlivened her? Melanie’s early disappearance from the house? The husband finding the envelope, reading the note on the photo? His looking at his wife?

11.Melanie walking away – revenge completed? The coldness of her revenge? Malevolence personified?

POWDER BLUE

US, 2009, 116 minutes, Colour.
Jessica Biel, Eddie Redmayne, Forest Whitaker, Ray Liotta, Lisa Kudrow, Patrick Swayze, Kris Kristofferson, Alejandro Romero, Sanaa Lathan.
Directed by Timothy Lynh Bui.

Powder blue could be anything but seems to relate to the snow shower in Los Angeles at the climax of this film where Forest Whitaker comes out of a church and finds blue snow falling.

Maybe that is symbolic of how the film works. On the one hand, it is set in the gritty, realistic and sometimes ugly world of Los Angeles. On the other, it is something of a fable about human loneliness, loneliness in a city as densely populated as Los Angeles where there are mysterious links between people.

Because it is set at Christmas and involves interlinking LA stories, it is has been compared with Crash. It is certainly in that vein but the stories stretch credibility at times and play with audience emotions.

The principal story is that of Rose Jonny (Jessica Biel) a desperate single mother with a dying son in hospital who works as a stripper/exotic dancer at a club managed by Patrick Swayze (several performances included).

Then there is the story of Jack, out of prison after 25 years, meeting up briefly with Kris Kristofferson, and then on a quest to find his daughter whom he has never seen and who has always longed for him. This is a role that enables Ray Liotta to look sinister as well as more sympathetic than usual.

Eddie Redmayne is Qwerty (an unusual 'type' of name!) who works in a mortuary, looks as if he needs some good meals but lives by himself and finds it difficult to relate.

Forest Whittaker is Charlie, a desperate man who remembers the death of his wife for which he blames himself – and the flashbacks indicate that he is not wrong – who is driving around at night, railing against God for what God has done to him, then offering people money to shoot him. They include Qwerty, a taxi driver and a transexual, Lexus, with whom he has a final shocking meeting.

Each of the stories has its interest but they are not always gripping, perhaps too contrived for the screenplay. The film was written and directed by Vietnam-born Timothy Linh Bui (brother of Tony Bui who made Three Seasons which the brothers wrote) who also directed Green Dragon, about refugees from Vietnam, starring Forest Whittaker and Patrick Swayze.

1.A Los Angeles story, a story of loneliness?

2.The work of the writer-director, background in Vietnam, moving to Los Angeles, at home in the city?

3.Los Angeles as a character, the streets, clubs, hospitals, the mortuary, shops, beaches? Christmas and the blue snow?

4.The score, the range of songs, those at the club, those illustrating the various characters?

5.The structure of the film: the introduction to each of the characters, the gradual building up of the links between them?

6.The portrait of Jack: standing on the beach, looking at the waves, the tattoos on his back, man of mystery? In the bus, the encounter with Randall, the talk about the past, the money and information in the case? His searching out Johnny, meeting her, watching her at the club, talking with her, the coffee, her response, the audience guessing who he was, her describing her dreams, seeing her father, his eyes? The money and helping her? The gifts? The clash? The hospital, trying desperately to phone her, dying in the snow because he could not get a car? The gift of the money and the payment of expenses? Making reparation for his life, the absence for twenty-five years from the woman that he loved?

7.Rose Johnny, at home, her son dying in hospital, the date, his ousting her from the car, her desperation, the phone calls to her son, her drug-taking, the loss of the dog? The story about her mother, her death? Her absent father? At the club, the interactions with Velvet Larry? Her being Scarlet, the range of her performances? Dancing, the customers? Her interactions with Jack, the bond? Her fears? Going to the hospital, her outbursts against the staff? Qwerty and his bringing the dog back to her? The bond between them, talking, on the trolley, falling on the footpath, the night together, his going to the club and seeing her?

8.Qwerty at the mortuary, his job, attention to the bodies, the embalming? At home? Hitting the dog with the car, taking it home, giving it a name? The encounter with Charlie, Charlie asking him to kill him, the gun? The interactions with Johnny, the night together? The club and his shock? His manipulating the puppets with the children? Her watching, at the bus stop, not getting the bus, the reunion?

9.Charlie, driving around the city, his memories, the gun, accosting Lexus, offering the money to shoot him? Lexus and the refusal? The taxi driver and his refusal? Going to the mortuary, asking Qwerty? His wandering the city, going to the diner, Sally and her talking with him, his driving her home, the date? Going to the church, blaming God? His memories, his wife at the cemetery? The revelation that he was a priest? The church helper asking if he had come back? Lexus and the stealing of the money, the confrontation, his being appalled at Lexus shooting himself?

10.The character of Lexus, transsexual, hopes, money, refusing to shoot Charlie? Stealing the money, the confrontation, the expression of his desperation, shooting himself?

11.Velvet Larry, the club, customers, Christmas, money? His attitude towards Rose Johnny?

12.Randall, the mystery man, the mystery of Jack’s background?

13.Sally, at the diner, her ex-husband, chatting with Charlie, befriending him, the drive home, the kiss, her apology, the date?

14.How well did the screenplay elaborate the links between the characters? Their emotional lives? The blend of realism and fable?

BELLY OF THE BEAST

Canada/UK/Hong Kong, 2003, 96 minutes, Colour.
Steven Seagal, Byron Mann, Monica Lo, Tom Wu, Patrick Robinson.
Directed by Siu- Tung Ching.

Belly of the Beast is routine Steven Seagal action adventure – perhaps a little above average because of some complications of plot and the Thai setting as well as the photography in Thailand itself.

Seagal once again plays an ex-CIA agent who is working for them on the side. When his daughter and the daughter of a senator are kidnapped, he becomes involved. An arms-dealing group are accused of the kidnapping. However, the events are much more complicated, a corrupt CIA man dealing in drugs, getting local militia involved as well as the collaboration of the CIA with the Thai military.

This leads to a number of battles, a number of stunts (Seagal looking most unenergetic but doing some of his stunts but relying mainly on the stunt double). Byron Mann is better as his friend who has been a monk for ten years and decides, in gratitude towards Seagal, to leave the monastery and help him on his quest for his daughter.

The film is for Seagal fans – and was one of those which marked the transition from Seagal’s films screening in cinemas to going straight to video and DVD.

The director is a cinematographer and, for many years, a stunt director – which is evident throughout the film and the staging and photographing of the various stunts.

1.The popularity of Steven Seagal? Cinemas? Video and DVD?

2.As an action hero, his past? Ageing, putting on weight? His stolid presence? Unemotional expressions?

3.The title, the significance of the phrase, going into action and confronting evil?

4.The Thai locations, the city, the countryside, the Buddhist temples? Authentic feel? The special effects, the staging of the stunts? Slow-motion photography for weapons? The musical score?

5.The basic plot, familiar, the kidnapping and imprisonment of the girls, their being taunted and tortured, the final rescue?

6.Jake Hopper, a Steven Seagal character, working with the CIA, injuries, the ten years passing, helping out? In Hawaii? In Thailand? The impact of his daughter’s kidnapping? Going to the monastery, recruiting Sunti? The interactions with Lulu? His working out what had happened? The arms dealers, seeking information in the restaurant, going to the CIA, going to Fitch McQuaid? Going to the general? The arms deal at the train? The female warrior – and the irony of his being a man?

7.The variety of stunts, fights?

8.The gradual working out of the plot, the complications, the confrontation with McQuaid? The CIA members and their knowing what was happening? The rescue, the fights?

9.A satisfying example of B-budget action and martial arts films, straight to DVD audience?

SLACKERS

US, 2002, 86 minutes, Colour.
Devon Sawa, Jason Segel, Michael C. Maronna, Jason Schwartzman, James King, Leigh Taylor- Young.
Cameos: Cameron Diaz, Mamie Van Doren, Gina Gershon.
Directed by Dewey Nicks.

Slackers is a college comedy, tongue-in-cheek – but fairly crass in its presentation of characters and issues. It will probably be of interest only to those who would identify with the title.

Devon Sawa, Jason Segel and Michael C. Maronna are a group of three students who are about to graduate – but have spent the four years of their college studies cheating, lying and playing pranks on unsuspecting academics as well as passers-by. These pranks are meant to endear them to the audience – but probably will have the opposite effect.

The film has a certain complication with the character of Ethan, played by Jason Schwartzman, a geeky type, desperate to have a girlfriend. The Devon Sawa character gives him all the information on the glamorous student, played by Jaime King (credited here as James King).

However, Ethan turns out to be a double-dealing type with some malicious intent. Devon Sawa turns out to be the baddie-turned-goodie – naturally enough falling in love with the young lady and deciding that he has to change his life completely, somewhat to the dismay of his friends.

The film is very much in the vein of the type of slacker film made at this time – and gives a depressing overview of young Americans and their attitude towards life.

SON OF SINBAD

US, 1955, 91 minutes, Colour.
Dale Robertson, Sally Forrest, Lili St Cyr, Vincent Price, Mari Blanchard, Leon Askin, Jay Novello.
Directed by Ted Tetslaff.

The reason for any interest in Son of Sinbad is not because of its variation on the 1001 Nights theme. It was produced by Howard Hughes. Its history is interesting insofar as it was held up for two years as Hughes capitalised on his trademark show business signature, his glamorous women, the most famous of which was his campaign for The Outlaw in the 1940s with Jane Russell and the consequent objections from the Legion of Decency and from Cardinal Spellman in New York.

While the contemporary American Catholic Bishops’ Office for Cinema has given the film a classification A3, unobjectionable for adults, it refers to the bevy of scantily-clad starlets. They include Sally Forrest who has a dance at the end of the film as well as Mari Blanchard. There are also several lengthy dances during the film to distract from the action.

Despite the fact that the film is about Sinbad’s son, his swashbuckling and amorous adventures, the potential attack by the Mongols under Tamalan, the introduction of the poet Omar Khayyam, and experiments with gunpowder, the film is not particularly interesting in itself.

Dale Robertson, better known for western films, is the dashing Sinbad. Sally Forrest is the servant who is associated with the Forty Thieves. Mari Blanchard is the daughter of the scientist with the Greek fire, gunpowder. However, the main interest in the film and its cast is the fact that Vincent Price plays Omar Khayyam, tongue-in-cheek, quoting the poetry – and giving a hugely unfeminist speech at the end to persuade the female descendants of the Forty Thieves and Ali Baba to come back to the city to be wives and mothers! One blogger noted that it was a great showcase for 1950s burlesque dancers. That is probably a very good summary.

THE DEEP END

US, 2001, 101 minutes, Colour.
Tilda Swinton, Goran Visnjic, Jonathan Tucker, Peter Donat, Josh Lucas, Raymond J. Barry.
Directed by Scott Mc Gehee and David Segal.

The Deep End is a thriller based on a novel by Elizabeth Holding. However, it is very similar in plot to the 1949 Joan Bennett and James Mason film, The Reckless Moment.

The film was written by Scott Mc Gehee and his partner David Segal (also responsible for The Bee Season as well as Uncertainty).

The film is a strong vehicle for Tilda Swinton, an actress who appeared in many offbeat and independent films, especially for Derek Jarman, but also appeared in mainstream films and won an Oscar as best supporting actress in 2007 for Michael Clayton. She is very good in the role of the concerned mother who discovers her son has a homosexual orientation and confronts the man who had seduced him. When there is a struggle and the seducer dies, she assumes that her son has killed him and disposes of the body in Lake Tahoe. However, the death was an accident – but blackmailers arrive with a video of the two men together and pressure Margaret to find money. The film shows her desperation, even while having to do ordinary things as well as care for her father-in-law who has had a collapse, and the film moves to a satisfying end as one blackmailer turns against the other and saves Margaret. However, the questions still remain about what will happen in the family, especially concerning the young man’s sexual orientation and his navy father’s seeming inability to accept this.

1.A family drama, a thriller, the combination? Effective?

2.The title, realism and the swimming, the lake, disposing of the body in the lake? The metaphor of going off the deep end?

3.The Lake Tahoe setting, Tahoe City, audiences identifying with it, the beauty of the lake, the highways, the forests, homes, banks, hospitals, the ballet performance? The musical score?

4.The initial accident, Beau and his being involved, Darby and his being drunk? Margaret discovering the relationship between the two? Her husband being away at sea? Her children at home, schooling, ballet? Her father-in-law and his health?

5.Beau, age seventeen, confused, sexual identity? His meeting with Darby, the relationship, the club, Darby drunk, the car accident? Margaret and her confrontation with Darby in the club? Darby’s visit, showing Beau that he actually was after money? Margaret offering to pay him to keep away? Darby’s lies, the struggle with Beau? Beau going back into the house, the railing giving way, Darby’s death? The later screening of the video with Beau and Darby?

6.Beau and his silence, his relationship with his mother, not communicating? Puzzled by his mother’s behaviour, doing ordinary things, the applications for college, playing his flute? His concern about Alek Spera? His going to the hospital, signing out his grandfather? His mother asking him to drive, his observing her and the car crash, his final support of his weeping mother?

7.Margaret, the visit to the club, her concern about her son? Her looking after her father-in-law? Going for the walk, discovering the body, making assumptions of what had happened, her decision to take the body, the boat, rowing, disposing of the body? The cover-up? Her puzzle whether Beau had killed Darby or not?

8.Spera and the confrontation, the demand for the money, the shock, his visit, showing the video? The children coming in and out? Margaret and her not having the money? The phone calls, the visits to the bank, needing her husband’s signature, failing to get the money? Spera and his pressure? Meeting him, his coming to the house, the father-in-law collapsing and his helping with first aid?

9.Alek and his debts to Nagel? Nagel and his sinister presence, completely callous? Not believing Margaret? Wanting the full money? The meeting with Alek, the visit to the house, his assault on Margaret? Alek coming? His having accepted the lesser money after Margaret pawned her jewellery? Alek rescuing her in the shed, his being wounded, organising the escape, driving the car, the crash because of his wounded arm and loss of control, his death?

10.Nagel as brutal, the fight with Alek, his death, carried to the car to be disposed of?

11.Margaret upset, yet having to do the ordinary things, with the neighbours, collecting children from school, her daughter and the ballet class, the car not working, having to get taxis, desperate? Pawning her jewellery?

12.Finding the car, with Beau, her grief at Alek’s death, weeping in her room? Beau not understanding but supporting his mother?

13.Issues of family, sexual orientation and coping, blackmail, the thriller and violence? A portrait of a concerned parent?

THE BOOK OF ELI

US, 2010, 118 minutes, Colour.
Denzel Washington, Gary Oldman, Mila Kunis, Ray Stevenson, Jennifer Beals, Frances de la Tour, Michael Gambon, Tom Waites.
Directed by Alan and Albert Hughes.

Welcome, once again, to the end of civilisation as we know it and introducing the wasteland of post-apocalyptic America. Recently, this has been done with tongue in cheek humour in Zombieland and with earnest seriousness in the fine adaptation of Cormac Mc Carthy's novel, The Road, by John Hillcoat.

Eli has been wandering the devastated United States for thirty years. He is a survivor who is quick, very quick, with arrows, guns and a blade that would make some Samurai envious. Speaking of Samurai, he is the latest in the tradition of Mad Max heroes, a sign of contradiction, violent weapons master but straightforward sage who can be courteous and wise. Since he is played by Denzel Washington the latter almost goes without saying, so it is a surprise to see Denzel wielding the weapons.

The itinerary is familiar enough though the look of it, all desaturated colour and painter-like framing of scenes and of iconic buildings and roads, is quite distinctive and arresting. As is the soundtrack.

Eli shoots a wildcat for meat, is ambushed by a flesh-eating bikie gang which is literally dismembered, and rapidly. A gang rapes a wandering woman and Eli refuses to be involved. He chances on a town, ruled over by power-hungry Carnegie (Gary Oldman reminiscent of his Dracula in look and manner) who has search parties out looking for a book which will enhance his power and offer him a way to control people and their minds. We soon realise that it is the Bible – copies of which seem to have been destroyed because of the role of religion in the destructive wars.

Carnegie runs a bar and has a hold over a blind woman, Claudia (Jennifer Beals) and her daughter (Mila Kunis). The daughter is meant to seduce Eli but, instead, helps him. This brings on more disasters, especially for an elderly couple, with US-symbolism names of George and Martha (Michael Gambon and Frances de la Tour), who offer shelter and tea in china crockery.

The final goal, according to Eli, is 'West'. Actually, it is a destroyed San Francisco though, ironically, Alcatraz is intact and is the centre, under the leadership of Malcolm McDowell?, where culture could begin again - with the help of the book of Eli and Christian teaching which takes its library place beside the Quran and other sacred texts.

The film is intriguing rather than involving, something like a futuristic western. The character of Eli is especially intriguing for religious audiences. He is a man who has become the bible incarnate even though he cannot always put it into practice.

After making some strong African- American gang films (Menace II Society, Dead Presidents), the Hughes twins, Alan and Albert, made the intriguing Jack the Ripper film, with Johnny Depp, From Hell.

(Post-script: Some secularists have been mightily offended by this promotion of sacred texts and the role of religion which they see as fostering war and devastation and, because Eli begins with the book of Genesis, some commentators have seen this as part of a Creationist plot – now there's a different conspiracy theory, especially since one of the books that has survived, even out in the wasteland is The Da Vinci Code!)

1.The appeal of post-apocalyptic films? The devastated Earth, devastated United States? The reasons for the popularity, grim stories, recovery and redemption? Lone heroes?

2.The visuals, the desaturated colour, the desert, the framing of the icons, the buildings, the characters? The picture of the town, houses, shops, the hotel? San Francisco and its devastation? The musical score?

3.The title, the focus on Eli, biblical name, the book as the Bible? Lost in the religious wars? The comment on religion and its contribution to destruction? The Bible and power, religious power, secular power because of people’s devotion to the Word? Eli and his book, in Braille, committing it to memory? Eli as the biblical word made flesh?

4.Denzel Washington in the central role, his screen presence? The opening, stalking the cat, the arrows? His range of weapons? The lone hero? His wandering for thirty years? His book, reading it every night? Survival, his mission, travelling to the west?

5.The encounter with the begging woman, the trap, the men revealing themselves, the swords and the guns? His watching the attack on the woman, her being raped, his not intervening because it was not his cause?

6.Arrival in the town, the town like the old west, going to the engineer and wanting his batteries recharged? The cost, the barter? The modern and the old in this town? The hotel, the bar? Carnegie as the boss, his thugs? The confrontation? His desire to have the book, to rule and to build other towns?

7.Carnegie as a character, sinister, lust for power, a survivor, his influence over the men, their brutality, the girls and prostitution? Wanting the book? The collection of books including The Da Vinci Code? His hold over Claudia, over Solara? His wanting Solara to seduce Eli and get the book?

8.Eli and Solara, an honourable man, her expectations, being treated well? Her fears for Carnegie, for her mother? His paying her, leaving town, Solara following him?

9.Carnegie and the pursuit, Claudia and her fears? The chases, the cars, the crashes, the sieges, the weaponry?

10.Eli and Solara meeting George and Martha, the symbolic American names of the president and his wife? Flesh-eaters surviving? Their huge cache of weapons? Serving tea in china crockery? The siege, their deaths?

11.The violence of the siege, the guns? Eli and his skills?

12.Carnegie, being wounded, returning to the town, his henchmen and their pursuit? Capturing Eli, getting the book, discovering it was in Braille? Claudia saying that she had forgotten Braille and could not read it?

13.San Francisco, Solara and Eli driving there, the ruins, the Golden Gate Bridge? The new leader, on Alcatraz, the irony of the prison being a free zone, the restoration of culture, safety, Eli reciting the book by heart, the leader copying it, the printing of the book, its place in the library alongside sacred texts? The film’s comment about the Bible and sacred texts as the foundation for culture?

14.Solara as the new lone warrior, going on her mission?

15.How well did the film use the post-apocalyptic genre and its conventions? Its appeal to audiences? Serving as a fable?

OORLOGSWINTER (WINTER IN WARTIME)

Holland, 2008, 103 minutes, Colour.
Martijn Lakemeier, Yorick Van Wageningen, Jamie Campbell Bower, Melody Klaver.
Directed by Martin Koolhoven.

2008-2009 saw quite a number of films from continental Europe going back over World War II and Resistance movements: Flame and Citroen from Denmark, Max Manus from Sweden, L'Armee du Crime from France, let alone Tarantinos' Inglourious Basterds.

Wartime in Winter is based on a novel for younger readers by former politician, Jan Turlouw, in 1963 and considered autobiographical in some parts. It is a wartime memoir, set in January 1945 with Nazi forces still occupying Holland, the Resistance mounting attacks but being betrayed by locals to the military who wreak hostage reprisal deaths.

Michiel is the 14 year old son of the mayor of a small town. His uncle Ben, who is part of the resistance comes to stay. When a pilot crashes in the forest near the town, circumstances involve Michiel in caring for him in his hiding place. Michiel's sister, Erica, a nurse, is brought into the forest to treat the pilot's leg, something which brings out quite some possessiveness and jealousy on the part of Michiel who wants to do something for the resistance on his own.

Everything is seen from the point of view, the limited point of view, of the boy. He wonders whether the father he loves is a collaborator. He entrusts messages and packages to his Uncle Ben to get to England and authorities. He is dismayed when his father is arrested as a hostage. He makes plans to help the soldier get to a neighbouring town but accidents happen and things go wrong, especially when he realises that everything in the town is not as it might seem. Ultimately, Michiel has to make life and death decisions that any 14 year old should not have to make.

By focusing on a small town, one family and one downed British pilot, the film captures the experience of the war in miniature. It pays great attention to details of life in the snow-covered wintry town that makes the audience feel it has been there. It is interesting to note that over 60 years since the events and almost fifty years since the publication of the novel the story is still worth telling.

1.The popularity of war stories so many decades after the events? Continental European stories? Memories of the experience? Of post-war recovery? Of resistance and national spirit?

2.The continent of Europe and German occupation, the Nazi treatment of ordinary citizens? The Dutch occupation? Holland close to Germany, a better life, the collaboration, the Resistance?

3.The memoir, the novel written for a younger audience, the memories of a boy? Memories from the 1960s?

4.The attention to detail of the town, the realism, the streets and buildings, the Nazi headquarters, homes, the forests, the river, the punt? The musical score and its atmosphere?

5.The title, January 1945?

6.The boy’s perspective, his life, age, the experience of the war, the Nazis, suspicions of collaboration, stories of the Resistance, his wanting to act to support his country, take responsibility, the experience of betrayal, decisions of life and death?

7.The opening, the plane crash, the pilot in the trees and shooting the German soldier, the boys watching, ransacking the plane, the German military, chasing them, capturing Michiel?

8.Michiel and his father promising he would not misbehave, his father’s relationship with the Nazi authorities? Michiel’s age, his relationship with Erika, fighting with her, with his parents, ordinary life at home, his father being the mayor, not such difficult circumstances given the war experience? His friends, Dirk, looking for the plane, finding the watch? The Partizans? Uncle Ben coming to stay, Michiel’s joy, sharing the room, sharing his uncle’s warnings about the Resistance? Watching the neighbours, the arrests, the binoculars?

9.Michiel’s father, quiet man, dancing at home with his wife, intervening with the neighbour and his arrest, his relationship with the authorities, people suspecting that he was collaborating, his arrest, imprisonment, his quiet resignation as he was executed? The mother, ordinary woman, home, the meals, working as a nurse, her grief at her husband’s imprisonment, rushing to the prison with Michiel, trying to get past the guards? Her grief at the funeral?

10.Erika, her age, working as a nurse, fights with Michiel, Michiel taking her to see Jack, her bandaging his wounds, the relationship, the sexual encounter, Michiel discovering this? Her helping him with the final escape?

11.Dirk, in the Resistance, the message entrusted to Michiel, his death, going to see the blacksmith, being observed, the blacksmith being shot, giving the package to Ben to deliver? To get to England?

12.In the forest, discovering Jack, Jack as British, his leg severely wounded, his shooting the German soldier? Michiel and speaking to him in English? His desire to help? Erika and fixing his leg? The visits, playing cards (the sexy cards and later being given as the gift)? The cigarettes, Michiel and his plans for Jack’s escape?

13.The plans, the river, the punt, the times? The accident and his falling through the ice, the rescue by the Nazi soldier, going to the hospital, going home?

14.His father, suspicions? Ben not helping him and saving him from execution? Michiel and his running to the prison, being restrained, seeing his father executed? His antagonism towards Ben at the funeral? His not telling Jack about his father’s execution? Not wanting him to take the blame?

15.The issue of responsibility for Jack, jealousy of Erika? The plans, the bicycling in the forest, the guards and their search, hiding? Rescuing Jack? Putting him in the shed?

16.Michiel and his riding the horse, in the forest? The chases? The horse and cart with Jack? The wheel coming off? Escaping?

17.The finale, going to the river, Ben and the papers, Erika helping? The escape, the chase, climbing under the bridge to freedom?

18.Michiel and his going through Ben’s case, finding the packages, the documents, realising the truth, hurrying on his bike, the gun, stopping Ben? Watching Jack climbing the bridge, the binoculars? The success? Ben and his pleading, untying the ropes, fleeing, the confrontation with Michiel, Michiel shooting him?

19.A microcosm of the war, heroism, betrayal, collaboration, resistance and decisions?

ANONYMA – EINE FRAU IN BERLIN (ANONYMA: A WOMAN IN BERLIN)

Germany, 2008, 131 minutes, Colour.
Nina Hoss, Yevgeni Sidikhin, Rudiger Vogler, Juliane Kohler.
Directed by Max Farberbock.

In 1959, an anonymous journalist published a memoir based on her experiences and those of other Berlin women during the final weeks of World War II and its immediate aftermath. It focused on the exploitation of the women at the hand of the victorious Russian military, on rape and continued sexual oppression. In the late 1950s, this was considered taboo material and the book was not re-published until recent years and the identity of the author remains anonymous.

This theme could become more important for films about war. Rape has been used as a weapon in African civil wars and made headlines in the 1990s with the wars in the Balkans. It is a subject that needs greater exposure since, in the past, nations have tended not to acknowledge this horrendous experience of war and the sufferings and humiliation of the women. The press kit for the film indicates that General Eisenhower had decreed before the D- Day landing that anyone who committed rape would be executed. The first rape occurred six hours after the invasion.

Anonyma becomes a significant German film in its portrayal of this crucial period. Where the film makes a challenging point is that Anonyma and many of the other women portrayed were deeply imbued with Nazi faith and German destiny. An opening sequence of the Nazi glitterati at a party extolling the regime reminds us of the commitment to Hitler's ideals by many Germans.

The rest of this quite long film begins on April 26th 1945 with the women, children and the elderly of a typical street in Berlin, from a typical apartment block, are hiding in the basement from the advancing Russian troops. When they tentatively emerge, treated to some potatoes, it is clear that the Russian men, angry with the Germans who have oppressed them for four years and killed their loved ones and heady with the achievement of conquering Berlin, are going to take advantage of the women and exploit them. They are rough, even brutal men, many of them, not always following orders from their commanders.

Nina Hoss plays the anonymous journalist who returned from overseas appointments to be in Germany for its triumph and has farewelled her husband to the front. She is a strong personality and, while she is raped, she also allows herself to enter into a relationship with a more cultured officer. She supports the range of women who are allowed back into the apartments as well as secretly sheltering a frightened young woman. We see her writing up these experiences for her husband in some exercise books, writing about the detail of what happened day by day up to the surrender of Germany and the early weeks of uneasy peace. She also writes up her feelings and her ways of coping.

The film is worth seeing just to immerse oneself in the experience of the Berliners (ideologically unsympathetic as they are) in encountering the vanquishing Russians whom they despise but realising that they will have to collaborate with them to survive. We see the street fighting and battles, the arbitrary deaths, scavenging for food, the women terrified that the Russians will turn on them.

It would be important to compare this review with the perspectives of those written by women who will be disturbed by the content and empathise with the pain and suffering of the women.

1.The written memoir, published in 1959, suppressed, the anonymity of the author, revived in the 21st century?

2.Women’s issues, women in war, exploitation and humiliation, the surfacing of these issues with the wars of the 1990s and consciousness in the 21st century?

3.Germany and the Nazi era, the Germans pro-Hitler, the sense of destiny, the experience of defeat, behaviour and the consequences?

4.The re-creation of the period, 1945, Berlin under siege, bombed, the city as a bombsite, the destroyed streets, apartments, the basement? The devastation?

5.The battle scenes, the weapons, the Russians and their advance, clearing the streets, being ambushed? The occupation of Berlin? The ultimate surrender?

6.The introduction to Anonyma, her voice-over, her life, journalist, in Paris and London, in Moscow, the decision to return to Germany, her motivation, her loyal Nazism, at the glamorous party, the people chattering about Hitler, destiny, the presumptions of the superiority of the Germans?

7.The picture of the wealthy, the glamorous, the transition to defeat, humiliation?

8.Anonyma, her relationship with Gerd, the farewell, his going to the fight, his comment that thirty minutes with him and she would never leave him? The irony of her remembering this later?

9.The basement, the range of people hiding, the children, the women, the elderly? Their fears? Their superior attitude towards the Russians, considering them barbarians? Their loyalty to the German state, to Nazi ideology? Their snobbery about language and culture?

10.The Russians, the experience of war, the millions of Russians killed, the experience of difficulties and desolation in their homeland, the joy of reaching Berlin, prevented from taking the Reichstag? Clearing the streets, the guns, settling the people down? Their rough manner, soldiers and their background? Language? Their attitude towards the women? Food and supplies? Obeying orders – and some rampages and disobeying orders?

11.The women emerging out of the basement, the cartload of potatoes, the Russian offers? The women tentative? Anonyma as strong, going to the commander, trying to find the leader, raising the issues, especially about the women? A courageous and strong-minded woman?

12.The people being settled, in the apartment block, the role of the widow, her being in charge, hospital, survival? The other women, the elderly husbands? The Silesian woman and her fears, yet her fierce loyalty? Her soldier boyfriend, not wanting to be sent to Siberia, his getting food? The eventual discovery? His being shot?

13.Life in the building, gifts of food, managing, waiting for the surrender, after the surrender?

14.The issue for the women, whether to comply with the occupation forces, sexually, be raped or not, prostitution? Anonyma and the men, permitting them to come to her, survival, her relationship with the two different men, with the commander?

15.The character of the commander, the story of his wife and her death, his relationship with the men, cultured, playing the piano, his relationship with Anonyma? Love?

16.Issues of collaboration, the picture of the women and the survivors collaborating? The women as victims? The older man, not willing to collaborate, killing himself?

17.The issue of rape, the women as victims, having to cope, prostitution versus rape, trying to preserve their dignity?

18.The variety of Russian soldiers, their appearance, uniforms, behaviour, the commander, the party, the dancing?

19.Hostility towards the commander, his being relieved of his post? Anonyma visiting him, the tribute, the farewell?

20.Gerd and his return, the suddenness, the shock, his disapproval, Anonyma giving him the diaries to read, his leaving nonetheless, his condemning her as shameless?

21.Anonyma, the change in her experience, from superior, to humiliated, to coping, to making decisions, to asserting herself, to writing her book?

22.The film as a continued examination of conscience about war, war and exploitation, the role of women? The importance of recreating this episode for German audiences? Worldwide?