THE PRIESTESS

Armenia, 2007, 120 minutes, Colour.
Directed by Vigen Chaldranian.

This historical epic, combined with contemporary psychology, is well worth a look.

While it starts in Yerevan in the present when a young woman is knocked down in a car accident and undergoes therapy, it also goes back into 3rd century Armenian history. The woman comes to consciousness and tells her story – that she is a priestess of Mithra, carefully chosen and groomed, with seer-like powers.

The 3rd century story is intriguing with attention to detail about the installation of the priestess, the Mithraic rituals, her prophecies. However, she is also the daughter of a farmer and lives out of the city in the countryside. This story is told in flashbacks as the screenplay returns to the present and the introduction of a scholar who knows the historical background and leads her through the events. The main threat to her health and exploring this story is that her doctor and medical staff want to resort to shock therapy to bring her to her real self.

The doctor (played by the director who also produced and did production and costume design) is a quiet, bookish man. The director also plays a dashing tutor of the royal family who encounters the priestess without knowing who she is and has an affair with her. She becomes pregnant. However, he is killed, unable to read out the royal proclamation of persecution and death for Christians.

Armenia was the first nation to officially accept Christianity (301 AD). The film is a speculation about that conversion. The priestess foresees the conversion (with a short sequence showing Jesus carrying his cross – and played by the director as well). She goes into exile and encounters the imprisoned St Gregory the Illuminator, helps him survive and, with her son, is instrumental in the conversion of the people.

This is no Da Vinci Code material. The device of having a contemporary woman imagine she is a reincarnation of a ‘historical’ person was used in Michael Anderson’s 1972 film Pope Joan, with Liv Ullmann. While the priestess story is the invention of the writer and director, the Temple at Garni where she was installed is still there as are the caves at Khor Virap where Gregory was imprisoned. So, for Armenians it is a kind of movie historical novel. And, for non Armenians, an easy way into appreciating this period of transition from pagan practice to Christianity.

1.An Armenian production? History? Religion? Fact and invention?

2.The production values, the locations, Garni and the temple, the countryside, the farm? The caves? Costumes and décor? The director and his roles in production design, costumes, performances? The musical score?

3.The contemporary world stories, the library, the hospitals? The plausibility of the psychological cases?

4.The title, the focus on the woman, the accident in the street, going to the hospital, her words, memories, her story? That she was the priestess reincarnate? The priestess in the past, the choice of the people, painting her in gold, the ritual at the temple, her going down under to temple, the response of the people, the crowds, the clowns in the front of the temple? The pagan temple of Mithra, the union with the god? Her role as a seer, her prophecies, the king, his illness? Her reputation? People’s demands? Love and fear?

5.The character of the girl, the choice of the priestess, her believing that she was the priestess? The spiritual life as the priestess? Yet on the farm, with her father? The relationship with the king, his sister, their demands? Meeting Theo, his being a dashing soldier, courtier? In the cave, their further meetings, the swimming in the water, the sexual liaison, the truth? Her pregnancy, fears, Theo’s death? Her father and his talk about Christianity? His death?

6.The king, the court, Theo as tutor, the holding of the court, the crowds, the clowns’ performance? The decree about Christianity – and Theo not able to read it out? His death? (The voice of Theo, the voice to the woman in the contemporary story?)

7.The priestess, now alone, her fears? Her father’s death, the mystery, her exile? Wandering, pregnant? The cave, the voice, the encounter with Gregory the Illuminator? Their discussions, his Christian perspective? Her help, giving him the bread, sustaining him? Her simple life, giving birth to her child? The help of Gregory? The sister of the king, discovering her in the cave, wanting an oracle from the priestess?

8.The prophecy about Christianity, the sister of the king and her dreams, her conversion? The king, the effect? The acceptance of Christianity by Armenia? As a nation? The crowd scenes of baptism? 301AD? The importance of the tableau: the girl, as priestess, the talk of Jesus Christ, the vision of Jesus carrying his cross?

9.The discussions about Christianity, Armenian traditions and legends? The role of Gregory the Illuminator?

10.The woman in the hospital, her gradual recovery, the continuing telling of the story? Her identification with the priestess?

11.The character of the librarian, his narrative, quiet, ageing, nothing exciting in his life, his divorce? At work? Summoned to the hospital? The discussions with the doctor? The woman and her languages, his identifying them? Continuing to talk with her, the consultations with the doctor, her mental health? His interest, the bond with the woman, the development of her story? The doctor, his consultations, the plan for the surgery? The librarian, his discovering this, rushing to the hospital, his objections? The woman, the surgery, the aftermath?

12.The atmosphere of mystery? The psychological mystery? Possibilities of reincarnation? Shared memories? The intercutting of this with the story of the priestess?

SHOOTER

US, 2007, 120 minutes, Colour.
Mark Wahlberg, Michael Pena, Danny Glover, Kate Mara, Elias Koteas, Ned Beatty, Rade Sehrbeigedza.
Directed by Antoine Fuqua.

This thriller is generally so fast paced and edited accordingly that you barely have time or space to think: action, adrenalin, chases, body count, politics, conspiracy theories, The Fugitive but, towards the end when gunner Bobby Lee Swagger (Mark Wahlberg) lays siege to a Virginia homestead and is besieged himself by a large military force, the thought does come, ‘Eat your heart out, Rambo’.

John Rambo in First Blood (before Rambo became the Ramboesque warrior of the sequels) was a Vietnam War veteran, trained as a Green Beret in all kinds of lethal and survival skills. He is turned on by authorities and then manipulated by government officials to do some of their dirty work.

The more things change, the more they stay the same.

It is a quarter of a century later. The battleground is Ethiopia and the Eritrean border. Special squads of highly trained snipers are in action to safeguard American forces. The only trouble is that these troops should not be there. They are in the pay of Washington politicians who tell the hero that there is no more Sunni or Shia, no more Democrats or Republicans, there are only the Haves and Have Nots and that is the be all and end all of power.

This means that we are watching one of those morally ambiguous thrillers that are exciting to watch – director Antoine Fuqua is no slouch with action, Training Day, Tears of the Sun, the grim King Arthur – but which make moral senses uncomfortable. We are exposed to an evil world, greed and abuse of power at the top, protected from law and justice by connections and friends in high places. (And the screenplay has some explicit shots at the current US administration.) It is easy to tut-tut from an armchair far away from this kind of world.

Bobby Lee Swagger, our 21st century Rambo-figure, has shown his skills in Ethiopia and was abandoned by superior officers. His best friend and partner was killed. Retired and hidden in remote mountains, he is approached by some Washington officials and asked to assist them in preventing an assassination attempt on the president. This is reverse Manchurian Candidate material. Bobby Lee is a victim of smooth talk and appeals to patriotism rather than obvious brainwashing. But, all is not at all as it seemed and he finds himself shot, then pursued by government and FBI alike – and he is a fine advertisement for the effectiveness of survival skills training.

The junior FBI officer that he chances on as he begins his flight (Michael Pena, one of the trapped firefighters in World Trade Centre) becomes curious, investigates more and more anomalies that turn up in the investigation and ultimately finds himself on the run with Bobby Lee who has also enlisted the help of his buddy’s widow (Kate Mara).

The film is very well crafted so that it is hard not to be involved, even when the only way to find justice is to adopt the gunfighting ethos of the 19th century West.

One of the surprises and strengths of the film is that we can scarcely believe that the patriotic and always-so-noble-on-screen Danny Glover could be such an unredeemable villain.


1.An exciting political thriller? Conspiracy theories? Vigilante action?

2.The global perspective of the screenplay? The opening in Africa, deals in Ethiopia? Troops, techniques, buddies, accuracy in killing? retreat? The United States, the remote north, Washington DC, Kentucky? Authentic atmosphere? Musical score?

3.The prologue, Bobby Lee and his colleague in Africa, the troops, the work of snipers and spotters, their skills, the orders, the betrayal of the men? Donnie’s death? Bob’s escape?

4.Bob and his retirement, isolated, enjoying the solitude, his simple lifestyle, the years passing, the companionship of the dog?

5.The focus on Langley, the officer in the wheelchair, Danny Glover as the go-between? The discussions, the approach, the set-up? The issue of the assassination of the president? Their going to visit Bob, the presentation of the issue? The irony of the later betrayal, the conspiracy, the vast money issues, the cover-up?

6.Bob and his listening to the proposal, his sense of alienation, the go-between and his spiel, the appeal to patriotism, the Constitution? Bob and his skills, his decision? The death of the president and his sense of responsibility?

7.His decision to go, his photographing the car, the numberplates, taking his time? The example of his testing his shooting – and accuracy at such a long distance? Going to Washington, to Baltimore, to Philadelphia? Scouting the locations, the exercise of surveillance? The Baltimore checkout? Philadelphia being the appropriate spot? The information, the reasons for the choice, the details about the shooting?

8.The event, the cars, the waving? The teams and Bob and his supervision? The archbishop and the president, the speech about the atrocities in Ethiopia, his plan to talk to the president? The policeman and his arrival, his shooting Bob? Bob’s escape, the encounter with the FBI agent in the street, getting his gun and car, cuffing him? The whole set-up for the false guns, the firing of the shot? The pretence about the president? The target being the archbishop?

9.The FBI agent, his age, lack of experience, security guard, his being cuffed? Listening to what Bob had to say? The FBI and the pursuit of the car, Bob going into the carwash, getting the bandage for his wounds from the car seat? The helicopters? Backing the car into the river, the search, his going with the barge? Taking the truck? The blackout in the shop, buying the necessary goods to help his wounds, the medication, his camouflage, driving?

10.The agent, the rookie, the briefings, the threats against him, facing a review, speaking to his boss, the psychologist? The phone, the work? The television information? His comments about the Napoleonic wars, the medicine? Their not listening to him? His continuing his computer research? The questions about the gun, the ballistics, going to the location? The death of Timmons? The church tower and finding the alternate shooting place? His detective work, discussions with the psychologist, getting the information, the computer questions about guns and ammunition?

11.Bob going to Kentucky, meeting Donnie’s wife, the regrets about Donnie, hearing the information about the death of the archbishop? His wounds being fixed? The gun?

12.Danny Glover’s mediator, his reaction, the search? The bounty on Bob?

13.Donnie’s wife, help, talking about Donnie, driving him, contacting the FBI agent, her disguise? The agent going into the authorised personnel area, the computers, the conspirators knowing that he had entered the computer, the database? The information about the controllers? Their picking him up? The torture?

14.The treatment of the agent, his teaming up with Bob?

15.Bob, on the lookout, the ID search, the fight, his escape?

16.Bob and the agent, teaming up, the attack on the house, single-handed getting through the bombardment?

17.Washington, the revelation of the deals, the conspirators, their plans, the exploitation of Ethiopia?

18.The rendezvous, the snow, the senator, his background, his henchmen? The shooting? Bob and his evading the shots?

19.The house, Danny Glover and his talk, supreme confidence? His arrogance, his death? The senator and his associates, their presumptions, their deaths?

20.The resolution? The FBI? The agent? The focus on the single man who can conquer all – almost single-handedly?

SHEITAN (SATAN)

France, 2006, 86 minutes, Colour.
Vincent Cassel, Olivier Bartelemy, Roxane Mesquida.
Directed by Kim Chapiron.

Sheitan means Satan.

In recent years French film-makers have shown a greater interest in what seemed a particularly American genre, the kind of film exemplified by the several Texas Chainsaw Massacres and their many derivatives. Young people go on the road. Something holds them up in their journey. They are taken in by some locals who turn out to be murderous and things turn to torture and blood when they fight for survival. They have titles like Cabin Fever, Wrong Turn…

Two French examples are Haute Tension (the director of which went to the US to do the remake of The Hills Have Eyes, also in this genre) and Calvaire. The protagonists of these films tended to be in their 20s and 30s rather than the teenagers in many of the US films.

It is Christmas and the caption for the film says, ‘Forgive them for they know what they do’. With this introduction, we are asked to spend what seems an interminable time with a group at a nightclub, not particularly interesting or attractive characters. Eventually, not before time, they go out to a country house of one of the group where they come across the gardener/caretaker (Joseph) and his pregnant wife.

All is not necessarily well because Joseph, played with leer and verve by Vincent Cassel, has a mad grin and white but diabolical teeth. After being taunted and terrorised by some louts at the local swimming hole (Joseph joining in), they go back for a Christmas dinner where things become even more bizarre and violent, including an odd birth, an evil Christmas and the victimisation of the central character, even to his having to supply his eyes for the Christmas doll.

During the dinner, however, this is a dramatic pause as the characters discuss life and death and the meaning of life, the existence of God and evil or not. This does supply some reflective foundation for the film.

However, it is basically a young group terrorised by maniacal types in the country melodrama, a terror movie.

1.A French horror film? The parallels with the American horror films, especially of young people travelling, finding in-bred communities, being persecuted, death? How well did the parallels work? The distinctive French tone?

2.The colour photography, the dark, sinister? The nightclubs in Paris? The countryside? The country house? The evocative atmosphere of the interiors? The village, the fields? The musical score?

3.The title, the Farsi word for the Satan? Joseph as a Satan worshipper? His story at the table about doing a deal with the Satan? The child at the end – the child of Satan? The blasphemous overtones of the couple being Joseph and Mary giving birth to a child? The Christmas setting?

4.The Christian imagery, Eve, the Satan, Joseph and Mary? Christmas? The Islamic background of some of the characters? Their not living up to Islamic ideals? Their reaction to blasphemy? Their survival?

5.The opening, Paris, the nightclubs, the young people, the hedonistic way of life? The music? The fights at the club? Bart and his aggression? His friends?

6.The decision to go to Eve’s country house? Yasmine accompanying them? Bart and his injuries?

7.The journey, the sinister overtones of the journey? The house? Joseph as the caretaker? His reaction to Bart, friendship? Marie and her pregnancy? Her presence but her absence?

8.The character of Joseph, Vincent Cassel’s appearance, the teeth, the hair? The local yokel atmosphere?

9.The young men of the place, the hot springs, the swimming, the fight? Bart and his aggression? Losing his hair?

10.Christmas atmosphere, the dinner, Joseph and the preparation of the meal? His telling the story about the pact with the Devil? The background of Marie and putting Bart’s hair on the doll?

11.The sexual overtones of the film? The characters of Ladj, Yasmine from the bar, Eve, Thai? The sensuality?

12.Yasmine, the grasshoppers, the overtones of plague? Their wanting to leave? The ensuing violence? Joseph and his attack, his aggression towards Ladj, towards Thai?

13.The young people of the place, the joke with Bart, the deadly overtones?

14.Marie, the fact that she is also Joseph’s sister, the background of the Satan myth, the gross picturing of her giving birth?

15.The men, their escape, knocking Joseph down? Bart’s decision to return, wanting to save Yasmine? The attack by Joseph?

16.The dream, the nightclub, its atmosphere? His blindness?

17.Joseph, sinister, taking out Bart’s eyes? Giving them to the doll? The child of Satan?

18.The overall atmosphere of this kind of horror film? How intelligently done? How gross the imagery? The quality of the horror film and its conventions?

HOT FUZZ

UK, 2007, 120 minutes, Colour.
Simon Pegg, Nick Frost, Jim Broadbent, Paddy Considine, Timothy Dalton, Bill Nighy, Billie Whitelaw, Edward Woodward, David Bradley, Olivia Colman, Ron Cook, Kenneth Cranham, Martin Freeman, Paul Freeman, Karl Johnson, Lucy Punch, Anne Reid, Rafe Spall, David Threlfall, Stuart Wilson.
Directed by Edgar Wright.

The Americans have regularly tried to spoof popular movie genres. They come up with Scary Movie, Date Movie, Epic Movie. They are parodies, usually fairly crass and obvious, of recent popular films. In the past, Leslie Nielsen used to appear is send-ups of particular genres: Naked Gun (TV police shows) Repossessed (exorcisms!), Wrongfully Accused (court murder mysteries), Spy Hard (James Bond and co). They were corny but amusing with Nielsen being the main drawcard. Mel Brooks began well with Blazing Saddles, Young Frankenstein, Silent Movie and High Anxiety but his Robin Hood and Dracula spoofs were sometimes quite lame.

A few years ago, British actor Simon Pegg and director Edgar Wright came up with a spoof of the living dead genre, Shawn of the Dead. They played it for all it was worth – and more. They took the genre seriously but enjoyed doing the spoof, taking many of the conventions to their logical illogical conclusions. Shawn of the Dead was grotesque in a very funny way.

The police thrillers, the buddy cops and the serial killer might seem obvious targets for spoof. And so they are. But here are Pegg and Wright again. And they are successful again. This is a very enjoyable (continual smiles more than lots of belly laughs) and comically exaggerated take on American cops, British bobbies and the dark side of a Miss Marple village. (And they probably had more than one eye on The Wicker Man for their basic plot.)

Simon Pegg has been very wise to play his role straight even when he is in the most ludicrous of situations. He is the perfectionist, the humourless perfectionist, who has shown up the London forces because he is so successful at apprehending criminals and making the rest look lackadaisical. (Bill Nighy, Martin Freeman and Steve Coogan have a good cameo condemning him and exiling him to a country town.) Pegg sustains his character well throughout and when he has to become that bit more heroic and that big bit more human.

What a village. Everything seems so nice, except the young thugs around the place. The local committee keep things in order. And a lot of character actors from the British screen appear here. You need to look closely and you will find Edward Woodward, Billie Whitelaw, Paul Freeman and others. Jim Broadbent, with hearty tones, is the local police chief. Nick Frost is his large and ineffectual policeman son. He has to partner Pegg and they form a kind of Laurel and Hardy (maybe more Abbott and Costello) team. And Timothy Dalton is there as the smarmy, smiling owner of the supermarket.

When the serial killer starts striking, Pegg goes into action. Once again, the writers seem to have been looking at Agatha Christie novels and Murder on the Orient Express for plotlines which work quite nicely and give the opportunity for stunt work, comic mayhem, some gore and heroics.

Shawn of the Dead and Hot Fuzz make a good track record for what Pegg and Wright do next.

1.An entertaining spoof? Police thriller? Comedy? Sinister? The murder mystery?

2.British production, witty, dialogue, humorous situations?

3.The visual style, the editing and pace, the collages? The musical score? The songs? The movie references to Bad Boys 2 and Point Blank?

4.The prologue, Nicholas and his career, exemplary, his work? The shooting of the suspect? His being stabbed? The police authorities and their reactions? Statistics and success? His being interviewed by the authorities? The comedy of Steve Coogan, Bill Nighy, Martin Freeman? Talk with his girlfriend?

5.The transfer, the trip, the flowerpot, the hotel and Joyce welcoming him, the crossword clues? The bar and the friendliness?

6.Sanford, the village, ordinary, buildings and streets, supermarkets? The chant of ‘The greater good’? Nick and his jogging, the greetings?

7.Nick as severe, looking around the bar, the groups, the under-age kids, his strict letter of the law, ousting them? Drinking only cranberry juice?

8.Danny, his drinking, the drink-driving? Putting him in jail? The kids? Danny and his turning out to be the police? Liking guns? The partnership with Nick? Aping him? The DVD selection? The shooting? His birthday?

9.Frank, as inspector, his pride in his son? Personality, work, genial? Sanford as the safest place in the United Kingdom? The swear box, the team at the station? Doris, the dog, the nonchalant desk man? The detectives, the police?

10.Tom Weaver, Edward Woodward’s style? His surveillance room? His antagonism towards the clown? His role with the Neighbourhood Watch?

11.The squad, the beer lunches, their resentment of Nick, lax, poking fun at him, the country not the city?

12.Simon, smooth, the supermarkets, his continual appearances, the Timothy Dalton style? The discounts, no charges against the thief? The chase round the supermarket for the biscuit thief? His assistant and her manner?

13.The reverend, his homily, the invitation to church?

14.The Neighbourhood Watch, the meetings, nice people, talking about births, Joyce as the secretary, against the living statue …? The later meeting and their sinister cloaks, wanting to kill Nick?

15.Nick and his coping, trying to teach the children, Danny and his question about guns and explosions? The escape of the swan, its causing accidents? Its later crucial point for the resolution of the film? Chasing the biscuit thief?

16.Car pursuits, the theatre director, his girlfriend, Romeo and Juliet, the smooth-talking to the police? Nick and his method of writing in the book? The tickets, the play itself, the affair, Eve and the director, the killer appearing, the car accident, the heads?

17.Arthur Webley, incomprehensible, the hedge-cutting, the discovery of his arsenal, the rounding up of the guns and classifying them, the bomb – and its later use in the resolution?

18.The killer, the director and the girl, the developer, his drinking, going to his house, his being killed, the explosion? Tim Messenger and his work with the newspaper, misspellings, getting information, standing under the church tower, being crushed? Leslie Tiller, her shop, giving all the information to Nick about the development? Her sudden death? The attack on Nick? Skinner’s assistant? The toy, the radio?

19.The confrontation, the Neighbourhood Watch group, the review, the murders? Anti-gypsies and joggers? Frank and his place? The desire to win the Best Village award, the pursuit of Nick, his falling down the well, the corpses, the range of people killed? Danny and his being stabbed? The ketchup? The Point Blank and Bad Boys 2 techniques? Nick’s decision? His decision to return?

20.Danny, his story about his childhood, and Nick telling his story? The drinking? The DVDs? The birthday gift? The attempt to arrest Skinner?

21.The return, the arrests? The information? The arsenal, the weapons? Riding the horse and the score – the setting up of a western, High Noon in the middle of a British town? Enlisting the help of the children? The graffiti on the screens for the Neighbourhood Watch? The shootout – heightened, exaggerated, enjoyable? The kids and the doors? The reverend and his confrontation? The shootout in the bar? The confrontation with Frank? The officers, Nick’s speech? Their change, being on-side?

22.The smash, going into the supermarket? The mayhem in the supermarket, the trolleys? The inspectors watching for the town award?

23.The finale, the swan, Frank crashing the car?

24.A year later, at Danny’s mother’s grave? The change, the plea by London police for Nick to come back? His staying?

25.How well did the film combine its serious moments, its spoof, its very traditional Britishness with the DVD violence?

TOY STORY

US, 1995, 81 minutes, Colour.
Voices of: Tom Hanks, Tim Allen, Don Rickles, Jim Varney, Wallace Shawn, John Ratzenberger, Annie Potts, John Morris, Erik von Detten, Laurie Metcalf, R. Lee Ermy, Penn Jillette.
Directed by John Lasseter.

Many were initially apprehensive about a completely computer-generated animation feature about toys coming alive. But the animation is skilful and the story-line is geared to appeal to children - parents will not be sorry that they have seen it. The toys are full of life (when humans are not looking) and have engaging personalities. Tom Hanks is very good providing the voice of Woody, the cowboy, whose place as favourite is being threatened by a spaceman toy who cannot believe he is only a toy (a very entertaining voice from Tim Allen).

This was the first of the Pixar animation films, directed by founder, John Lassiter, which led the way to a string of great successes both critically and at the box office and a number of Oscars for Best Animation feature: A Bug's Life, Toy Story 2 and 3, Monsters Inc, Finding Nemo, The Invincibles, Cars, Ratatouille, Wall E and Up.

1.The popularity of Toy Story, with audiences, critical acclaim, the beginning of Pixar’s successful films?

2.The computer graphic animation, the characters, settings, home and rooms, action? The score? The songs – especially about friendship?

3.The strength of the voices, the humour, characterisations, drama?

4.The appeal to younger audiences, a children’s story, toys, birthday parties, outings?

5.Andy’s house and Andy himself, not appearing so much, the human dimension? Playing with the toys, ignoring them, the birthday party and the gifts, losing the toys and his concern, moving house? Finding Woody and Buzz?

6.Toys, devotion to toys, the role of a toy? Woody and his explanations to Buzz Lightyear?

7.The toys coming alive, the human parallels, the sheriff and his words, Buzz Lightyear and the explorations of space, the meetings of the toys, Woody presiding, their concern about Andy, the new toys and envy, the crowd mentality and ganging up against Woody, the clashes, the comic adventures? The serious adventures, Woody and Buzz in the house with Sid? The vicious dog? The rescue attempts? The cracker and the rocket? The car chase, rocketing into the air? The sense of menace? The success of the mission?

8.The moral: be a toy, be oneself, friendship not envy?

9.Woody as the sheriff, the leader, Andy’s favourite, his limits? Chairing the meetings? Concern about the house move? Concern about Buzz and his arrival? His tantrums against Buzz, the meanness, the talk, bringing Buzz down to size, explaining he was a toy? Pushing him out the window? Buzz’s beliefs? The fear of Sid, his vicious toys? Buzz, the fall, the rescue, the growing friendship, the chase? The toys ganging up against Woody? The final forgiveness?

10.Buzz Lightyear, the space explorer, his jargon, beliefs that he was real, demonstrating his skills, the attempt at flying, defying Woody, the toys following him because he was popular? Woody’s antagonism, falling out the window? Taken up by Sid? The truth and his listening to the television, knowing that he was a toy? Sid and his wanting to use the rocket? Buzz and his disillusionment, drinking the tea – and intoxicated? The chase, Woody and the rescue, his getting Woody out of the cage? Finally flying?

11.Mr Potato Head, the humour, sardonic? Slinky Dog and his stretching, his faith in Woody? Mr Hamm? Bo Peep and her devotion to Woody? Rex the dinosaur – and his continued emotional states, sense of guilt?

12.The soldiers, their mission, R. Lee Ermy and his screen roles, Full Metal Jacket? The soldiers being trodden on?

13.The humour for adults, the enjoyable parody? The delight of the story and the characters for children?

TOY STORY 2

US, 1999, 92 minutes, Colour.
Voices of: Tom Hanks, Tim Allen, Joan Cusack, Kelsey Grammer, Don Rickles, Jim Varney, Wallace Shawn, John Ratzenberger, Annie Potts, Wayne Knight, John Morris, Laurie Metcalf.
Directed by John Lasseter and Ash Brannon.

Toy Story 2 was the sequel to the very popular Toy Story of the mid-1990s. It established strong characters led by Woody (Tom Hanks) and Buzz Lightyear (Tim Allen). This film is in the same vein – and many consider it the equal to Toy Story. It was one of Pixar’s earliest films after Toy Story and A Bug’s Life. They were to go on to great success in the next decade with such films as Monsters Inc and, especially, Finding Nemo and The Incredibles.

The film focuses on a young boy Andy and his toys. When he is not looking, they come alive. There is a great range of characters including Prospector Pete (Kelsey Grammer), Jessie the Yodelling Cowgirl (Joan Cusack).

The plot is slight – after an opening where Buzz seems to be being captured by the Emperor Zurg in space, it emerges that there is a toy sale. When a penguin is left behind, Woody tries to rescue him but finds himself captured by an evil toy collector. It is up to all the toys to collect together to rescue Woody – which they do, plenty of action and adventures on the way, so that all will be in place when Andy returns from summer camp.

1.The popularity of Toy Story? With children, with adults? The sequel and its impact?

2.The popular elements: the style of computer animation, the drawing of the characters? The action ingredients? Buzz Lightyear and his action? The contrast with Woody, the cowboy? The musical score – and the songs? Randy Newman’s style of music? The voices, the expressions? The background of Andy the boy and his absence, the toys and their activities? To the rescue?

3.The qualities of Pixar animation, the computer graphics, the creation of characters, the locations, décor, the different styles of the toys and their personalities? Musical score and songs?

4.Audience response to the toys themselves, their personalities, look, activities?

5.The opening, Buzz and the games, his waking up and the sale being on? The penguin, Woody being abducted? The basic situation for a rescue?

6.Bud, his character, slightly obtuse, the games? The dinosaur? The plans?

7.Tom Hanks as Woody, the hero of the playground, broken, his attempt to rescue Wheezy? The garage sale?

8.Al, his collection of toys, his plans, taking Wheezy, taking Woody? The enemy for the film?

9.The various toys and their participation in the rescue? Prospector Pete, Jessie, the horse? The dinosaur? Hamm? Mr Potato Head?

10.The rescue, the various incidents, amusing, the excitement, the shop? The introduction of Barbie – and the jokes? The other Bud? The elevator?

11.The decision for the toys, the basis for their decision? Getting home in time?

12.The airport, Andy, his parents, the return home? All in order?

LIFE IS CHEAP … BUT TOILET PAPER IS EXPENSIVE

US, 1989, 89 minutes, Colour.
Directed by Wayne Wang.

Wayne Wang has become an interesting director over a period of twenty years. Born in Hong Kong, he has made his films in the United States, sometimes returning to Hong Kong. He made his debut with Chan is Missing, a small-budget thriller (1982). He made a heartwarming film about Chinese customs – especially eating, Dim Sum: A Little Bit of Heart (1985), followed by a film noir, Slam Dance (1987) and then another film about Chinese- American customs, Eat a Bowl of Tea (1989). Then came this film – something of a surreal aberration. He then returned to more conventional film-making and success with The Joy Luck Club and Smoke in the early 1990s. He made a film with Jeremy Irons and Gong Li for the handover of Hong Kong to the Chinese, Chinese Box, but it was not a success. Though he made the erotic film, The Centre of the World (2001), his other films have tended to be very American and somewhat sentimental: Anywhere But Here, Maid in Manhattan and, especially, Because of Winn- Dixie, Last Holiday.

This film is a surreal journey through Hong Kong. A mysterious man, with a briefcase handcuffed to him, arrives on a mission in Hong Kong and his contact does not turn up. He then tours around Hong Kong, seeing its rather strange and weird sides, including violence, slaughter of animals … The film then gives an opportunity to see a seamier side of Hong Kong.

1.The work of Wayne Wang? This film in his career?

2.The Hong Kong settings, the visuals, the dark side of Hong Kong, the 1990s, anticipation of 1997?

3.The title, its ironies, the focus on bodily functions?

4.The style of the film: interviews, tableaux, close-ups, individual, the stage of set sequences, the style of photography, experimental, the foot chase, the editing and score?

5.The ducks, death, blood, Hong Kong food, culture and style?

6.The character of the uncle, his age, dance, violence?

7.Cowboys and the US, race issues, the mission, the meeting and the types, the woman and the gangsters, the boss, issues of marriage, the taxi driver, the chase? Comparisons between US and Hong Kong?

8.The sinister character, played by Victor Wong – in so many of Wang’s films? Playing against type?

9.The dubbing, the sex, the gangster, the mistress? Sinister atmosphere?

10.The boss, the blend of the genial and the sinister? The issue of marriage? The couples, traditions, talk?

11.The taxi, the driver, the ride?

12.The contents of the briefcase? The long foot chase?

13.The place of Hong Kong in the Far East, as related to China, in itself? The prospect of Hong Kong becoming part of China?

THE GORILLA BATHES AT NOON

Germany/Yugoslavia, 1993, 83 minutes, Colour.
Directed by Dusan Makavejev.

The Gorilla Bathes at Noon is a film by eccentric Yugoslav (Serbian) director Dusan Makavejev. While making films from the early 1950s, he made an international impact only twenty years later with his WR Mysteries of the Organism. He went on to make such controversial films as Sweet Movie and Wet Dreams. His three films of the 1980s were quite striking: Montenegro, The Coca- Cola Kid (made in Australia with Eric Roberts and Greta Scacchi) and Manifesto. He made only three films in the 1990s including this one.

Makavejev has the Serbian tradition of a rather wild imagination, an emphasis on wild behaviour – though this film is much more subdued than his previous ones. Basically, an official is caught in Germany, telephones Moscow for instructions, finds that his wife has left him and that somebody else has moved into his apartment. He decides to remain in Berlin and lives in the no-man’s land, having only an urn, his uniform and a bicycle. This leads him to contact with the black market and the underground – and his attempts at survival.

1.The impact of the film? Interest? A film of the 90s? Post- Soviet era? The work of Makavejev, his idiosyncratic interests and style?

2.The title, the focus on the zoo, the bathing, Victor, in Berlin?

3.Berlin, the history of its past, the present of the 1990s? The Berlin film tradition, the movies, the Reichstag, Leni Reifehnstahl’s films?

4.The blend of reality and fantasy? The movie style? The background of Lenin?

5.The collapse of the wall, the changes in Germany, the meaning of the post-war era? Berlin and the Soviet presence? The Russian sector? The wall? Troops and the police? Oppression? Change, the modern era?

6.Victor being late for the train, staying in Berlin, the phone call, the information about his wife, the man moving in? There being no place for Victor in the Soviet Union, in Berlin? His decision to live in the no-man’s land? His sense of wonder? The encounters? The urn, the uniform and the past? His flight? Hunger, the deals? Sexual issues? The black market, the underground, the baby? The girlfriend?

7.The characters in his life, in his past, in his present? His capacity for relationship? For survival?

8.The character of Lenin, friendship, support?

9.The other characters, the Germans, the police, Miki and her mother, the underground, the Turks, Frau Schmidt, the dealer, the journalist?

10.A glimpse of Germany in the 1990s – and anticipation of its future? And the collapse of the Soviet empire? The consequences for people like Victor?

SECRET SUNSHINE

Korea, 2007, 142 minutes, Colour.
Do yeon Jeon, Kang- ho Song.
Directed by Chang- dong Lee.

Director Lee’s film Oasis won the SIGNIS award at Venice in 2002. Lee raised difficult questions about society and relationships in that film and does so here but, ultimately less successfully.

Secret sunshine is the translation for the name of the town in southern Korea where a woman travels with her son in order to settle there. She makes friends with a genial and portly garage man – nothing is too much of a trouble for him when it comes to helping her. She is not so kindly in her response, taking his help somewhat for granted. Actress Jeon Do -yeon won the Best Actress award at Cannes.

When her son is abducted, she is distraught. When the boy’s kidnapper and murderer is apprehended, she is filled with fury. Then the tone of the film changes. She begins to attend the prayer meetings of a pentecostalist Protestant church and seems to gain some solace from the ceremonies, the hymns and prayers and the friendship of the congregation so much so that she is ready to visit the prison to forgive the killer.

This is where the key question is asked, something that Grahame Greene might have asked. When the killer explains that God has forgiven him, the woman is taken aback. This forgiveness seems an affront by God to her. How can she forgive him, she who was personally so hurt, when God has already forgiven?

This leads to disillusionment, to madness, violence and a final scene which is the camera staring at a drain. What might have been explored is turned into melodrama without insight.

1.The impact of the film? Its being well received? Do- Yeon Geon winning best actress at Cannes? The reputation of the director?

2.The Korean settings, the city of Miryang , the countryside? The detail of the town, the shops, homes, garages? The musical score?

3.The title, Miryang meaning secret sunshine? The symbolism of the town? The mother returning where her dead husband was born? Settling? Things being sunny? The irony of the title when the boy was abducted, his death? Her change of character?

4.The introduction to the mother and her son, stranded on the highway, the phone calls, Jong Chan coming to rescue her? His friendliness? His work in the garage, his other jobs around the town? His living with his mother? Thirty-eight and not married? A set-up?

5.Shin-ae and her age, experience, widow, her son, protective of him? Getting a job, her work? Jong Chan and his friendship? Her resistance? Her playing with her son – and the pretend disappearance and her finding him? The lyrical aspects of her life in the town, making friends, a future?

6.The abduction of the son, his disappearance, her becoming frantic? The search for the boy? Jong Chan and his interventions? His friends? The discovery of the body, the arrest of the man, her being frantic?

7.Shin-ae and the aftermath of the abduction, her grief? Her still spurning Jong Chan’s help? The religious woman in the shop, her husband? Her decision to go to the revivalist meeting? The Pentecostal style? The prayer, the hymns? Her gradually being won over? Jong Chan going with her? Her prayer, the transformation, her ability to forgive?

8.The decision to go to the jail to see the prisoner, the women accompanying her, Jong Chan and his driving? The meeting with the killer, her wanting to forgive him, his statement that God had already forgiven him? His happiness? The effect on Shin-ae? Her losing her faith? Her being hurt?

9.The theological question that the film raised – if God has forgiven, what is the role of the offended human party? The film not exploring this theme?

10.Shin-ae and her disillusionment with the revivalist group? The critique of their earnest prayer, faith? Undiscriminating?

11.Her change, her change of character, morose, keeping to herself? The madness? Her trying to get help from people? Jong Chan and his always being ready? Her change of behaviour, not going to Jong Chan’s meal? Her sexual aberrations? The seduction of the religious man at the shop? The return, the revelation of the truth? Her causing scandal?

12.Jong Chan, genial, large, his life, his friends, attracted to Shin-ae, continuing to help, the search, driving her? The meal? The aftermath and his being rejected? His still going to church? A matter of habit?

13.The family, the brother, the timing of the death of the child, his spurning Jong Chan? His coming again, much more favourable?

14.The ending of the film – the pessimism, the madness? The only possibilities being madness, death, conversion? Shin-ae and her attempted suicide and failure, in the hospital? Her madness?

15.The grim ending, the film opening up themes, developing characters, tracing psychological development – and then the melodramatic change – and the end of the film, looking into a stagnant pool, a drain?

MUPPET TREASURE ISLAND

UK, 1996, 99 minutes, Colour.
Tim Curry, Kevin Bishop, Billy Connolly, Jennifer Saunders, voices of: Dave Goelz (Gonzo), Steve Whitmire (Kermit, Rizzo), Frank Oz (Miss Piggy, Fozzie Bear, Sam the Eagle, Animal).
Directed by Brian Henson.

Muppet Treasure Island is one of a series of Muppet feature films beginning with The Muppet Movie and The Great Muppet Caper. There were also versions of A Christmas Carol (with Michael Caine as Scrooge).

This is a cheerful version of Treasure Island, keeping the elements of Robert Louis Stevenson’s novel. It was written by Jerry Juhl, the first person to be employed by Jim Henson for his studios and writer of most of the Muppet movies. It also has a great range of songs (‘Cabin Fever’, ‘Love Led Me Here’, ‘Something Better’).

The regular Muppet characters are all present with Kermit as Captain Smollett and Miss Piggy as Benjamina Gunn. The film focuses on characters played by Gonzo and Rizzo the Rat who are the companions for Jim Hawkins. Sam the Eagle is also on board as is Beaker doing experiments …

The film features the comic styles of the Muppets, the contemporary references, the jokes. However, it all fits in with the basic Treasure Island story.

Tim Curry has to be a more genial Long John Silver. A very young Kevin Bishop is good as Jim Hawkins. Billy Connolly has a few moments as Billy Bones and Jennifer Saunders a few moments as the proprietress of the Admiral Benbow.

The film was directed by Jim Henson’s son Brian.

1.The popularity of the Muppets? The characters? Their antics? Jokes? Songs?

2.Incorporating the Muppet tradition into a feature film, into the story from a classic British novel? How well did the ingredients blend?

3.The Muppet characters, the puppets, the various voices? The jokes? Gonzo and his being and important character, tortured, keelhauled, still supporting Jim? Rizzo, his rat behaviour, the comic styles? Kermit rather severe as Captain Smollett? Miss Piggy showing off as Benjamina Gunn? Sam the Eagle and his being the 2IC – and his being thrown overboard? Fozzie Bear as the lightheaded son of Squire Trelawney? Animal, the various characters, the band? Beaker and co? Audience familiarity and enjoyment of their presence?

4.Jim Hawkins, the young boy, the death of his father, working at the inn, serving, listening to Billy Bones and his story? Being wary of the one-legged man? Flint and his bringing the Black Spot and Billy Bones’ death? The map? Hawkins and his going with Gonzo and Rizzo to Bristol? Looking for a ship, finding Squire Trelawney’s son? Getting the ship? Going on board? Finding Long John Silver, the cook, befriending him? The oddball crew? Captain Smollett coming aboard, serious? The running of the ship, Jim and his role? His chatting with Silver? Not suspecting him? Long John Silver being a father figure? The compass and the stars? Their talk? His giving the map to Captain Smollett on his insistence?

5.Long John Silver, less sinister than some of the other film Silvers? Work in the kitchen, befriending Jim, his plotting behind the scenes? Bringing in the liquor for the toast – and Squire Trelawney throwing it out the window? His talking with Jim, explaining the stars and sense of direction? Insinuating himself, trying to get the map? Jim overhearing the truth about him? The plans for mutiny? His taking over, going onto the island, taking Jim? The search for the treasure, the clash with Benjamina Gunn? Finding the treasure, his being taken back on board, his escape in the lifeboat, its sinking?

6.Billy Bones, the Scottish character, Billy Connolly’s style, his stories, the Black Spot, his death? The map?

7.The landlady, raucous, knowing what was going on and intervening?

8.The pirates on board? The Muppet mutineers, their threats to Gonzo and torturing him, to Rizzo? Their being put in the brig? Saying they had a conversion experience? Going on shore, the treasure?

9.Miss Piggy as Benjamina Gunn, the parody of the Dorothy Lamour style of tropical films, her being carried in as the island princess, goddess? Her having been left at the altar by Captain Smollett? The usual Kermit and Miss Piggy antics?

10.The resolution, the treasure, getting it from the bottom of the sea? Jim Hawkins becoming the captain?

11.An entertaining variation on the theme? Entertaining Muppet antics? A way for young audiences to become familiar with a classic story like Treasure Island?