LA CONFIDENTIAL

US, 1997, 138 minutes, Colour.
Kevin Spacey, Russell Crowe, Guy Pearce, James Cromwell, Kim Basinger, Danny de Vito, David Strathairn, Ron Rifkin, Paul Guilfoyle, Graeme Beckell, Simon Baker Denny.
Directed by Curtis Hanson.

Somebody must have written a book about the portrayal of Los Angeles in the movies - not a very flattering portrait. This film contributes quite significantly. There has been a documentary with an extensive range of clips, LA Plays Itself.

LA Confidential is based on a book by crime thriller, James Ellroy. It is set in the early months of 1953 with the arrest of the local gangster chief and the consequent battles for his territory. Curtis Hanson, who has directed some enjoyable thriller like The Hand that Rocked the Cradle and The River Wild, takes us into a world of government and police corruption where integrity and opportunism collide. The world is tough and ugly, but Hanson walks the fine line between sensationalism and an intelligent immersion of the audience in an often repellent world. The screenplay demands audience attention to complexities of plot and character.

The police are excellently portrayed by Australians Russell Crowe (impulsively violent yet tender) and Guy Pearce (icy ambition and political shrewdness) as well as Kevin Spacey and, best of all, James Cromwell as the chief, all with behaviour familiar from recent enquiries and Royal Commissions All kinds of characters, standards from this kind of film, are given vitality by the supporting cast led by Oscar-winning Kim Bassinger and Danny de Vito as a gossip tabloid editor. This is the police of forty years ago - and we are asked to wonder how it has influenced the police in the succeeding decades.

Brian de Palma filmed Ellroy’s The Black Dahlia in 2006.

1.Acclaim for the film? Its status as a film classic?

2.The writings of James Ellroy, the history of Los Angeles crime, police, corruption, cover-ups? The re-creation of the 50s, the look of Los Angeles as a city, Hollywood, wealth, poverty, ghettos? The atmosphere (and the films: The Bad and the Beautiful, Roman Holiday)?

3.Hush magazine, the title of the film, the gossip, the confidentiality of scandals – and their being broken to a curious public?

4.The perspective on the 1950s from the 1990s? The issues, crime, the police, integrity?

5.Los Angeles and the history of the police, policing, corruption, cover-ups, the involvement of the police in organised crime? Race issues, the gangs? Official stances on these issues over the latter part of the 20th century?

6.Danny de Vito as Sid Hudgens? His initial voice-over, commentary, perspective, cynical? His gathering of information, his magazine, the tone, interest in scandals, readership curiosity, gossip? His connection with Jack Vincennes for police stories? His collaboration with Dudley Smith, taking compromising photos, his finally being bashed to death? The dangerous consequences of the Confidential?

7.The picture of Los Angeles society at different levels, the crime world, the police world, the world of wealth and business, the world of prostitutes? The ghettos?

8.Los Angeles in 1953, the gangster world of Mickey Cohen? His style, the dance, his arrest? The consequences of his being in prison? The gang wars wanting control of the drug trade? The setting up of the different murders? Meeks and his being a chauffeur to Pierce Patchett? His death? Stensland and the setting up of the murders in the Night Owl restaurant? The irony of Dudley Smith and his role as commissioner, the police in on his gang? His recruiting – and even wanting Bud White? The contrast between the public image, the hearings and the reality? Smith and his taking control behind the scenes, his admiration of Bud White and suggesting that he might be part of his team? His interest in Edmond Exley? Calling his men boyos? His investigation of the crimes, supervising Exley’s interrogations, seeing Bud White’s violent outbursts? His finally being found out, Vincennes making connections, his shooting Vincennes? Vincennes giving him the nickname which gave him away to Exley? His research, manipulation, his treatment of Patchett, Sid Hudgens, the police? The build-up to the final confrontation, the set-up? His being shot by Exley? The hearing, the decision to call him a hero, the newspaper headlines? Symbolic of corruption? And Exley saying that he was being used and he was using the police?

9.Stensland, partnership with Bud White, the encounter with Meeks? The girl in the car? The prostitutes? White and his encounter with Lyn, the shop, at the car? Stensland and the opening up of his links with Meeks? The past work with Dudley Smith, his control of them? Contacts and lies? The massacre and the Night Owl? The motivation? The finding of Meeks’s body under the house?

10.The role of the district attorney, the hearings, his public figure, going on TV? The party and his being introduced to Matt Reynolds? The set-up, Hudgens wanting photos? Reynolds being murdered? The confrontation with Bud White? His callous stance, especially about Reynolds? The visit to the office, his being hung out the window? His fears, confession? The final hearing, the suggestion of the cover-up? The end and his keeping his job?

11.Image and reality, television and reality? The filming of the television shows like Dragnet? The actor and his style? Vincennes and his being on-set, giving advice? Vincennes’ prestige? The celebrations? The finale – and the continuation of the police image via television?

12.Russell Crowe as Bud White, big and tough, the story of his father? The basher and Santa Claus? His encounter with Leffeitz, and Lyn, the contact with Stensland? His growing suspicions? His visiting Leffeitz’ mother, Leffeitz’ death, in the morgue, the connection with Stensland? Finding Meeks’s body? The discussion with the girl’s mother? His being in on the arrest of the African American gang, the interrogations, the bashing? The party and the Mexican girl? Her testimony? His interactions with Smith? His personal life, his relationship with Lyn, going to see her, trying to save her? Being himself? Her seeing the good in him? His dismay at the photos of Exley with Lyn? The violence towards him? Smith trying to control him? Exley and White sharing information? The confrontation of the DA, the final set-up, the shoot-out? White’s being injured, resigning, being looked after by Lyn, going to Arizona? A portrait of a rough and bluff policeman, challenged, finding some integrity, breaking through his violence?

13.Kevin Spacey as Jack Vincennes, suave, public image, on the drug squad? The adviser on the television program? Giving stories to Sid Hudgens, Hudgens paying him? His investigations, his despising of Exley? The relationship with White? His investigations, the lies about Matt Reynolds, his death? His guilt having set him up? His teaming with Exley, the investigations, Exley’s story about the people who got away with murder, the death of his father? His uncovering the truth? Not realising that Smith was to blame? Confiding in him – and Smith shooting him? His giving him Exley’s name, Smith not knowing the reality, it trapping him? Vincennes’ smile as he died?

14.Edmon Exley, his father, living up to his standards, his father killed in action, the name of the man who got away with murder? Uptight, rigid, spectacles? His wanting to be a detective? Smith’s control over him? As a father figure to him? Exley and his getting the chance with the raid on the African Americans? Leading it? Taking responsibility? The shoot-out, his being wounded? His being honoured? The clashes with Bud White? The clashes with Vincennes? His growing suspicions, learning more about Patchett? Learning about the prostitutes, going to interview Lyn, the sexual encounter? His falling victim to Bud White’s anger? Working with Vincennes, sharing information, going to see Johnny Stompanato, the joke about the real Lana Turner? His laughing afterwards? His collaborating with Bud White, suspicions of Smith, Smith and his giving him the name to investigate? The set-up, White and Exley at the motel, their realising what had happened, the siege, the shoot-out? The final confrontation with Smith, Exley shooting him in the back? The hearings, his deciding to accept the honour, the cover-up with Smith as a hero? His using people?

15.Pierce Patchett, the man about town, his luxury mansion, driving with Susan Leffeitz and Lyn Bracken? His running the prostitutes? His drugs and drug-taking? The pornography industry? His investing in the new freeways? Bud White visiting him? His being murdered?

16.The women, the prostitutes, dressed as movie stars? The joke about Lana Turner and the real Lana Turner? Lana Turner with Johnny Stampanato, the irony of her daughter killing him later? Bud White and his pressure on Stampanato for information about Meeks and Stensland? Lyn, her background, her being Veronica Lake? The encounter with Bud White? His going to see her, the relationship, her loving him, seeing the good in him? Explaining that to Exley? The sexual encounter with Exley – Bud White hitting her, her saying that she thought this would help him? Her finally giving information? At the ceremony? Going off with Bud to Arizona?

17.Stensland and Meeks, their past history, Dudley Smith, his hold over them? The Cohen empire, the drugs, the set-up for Stensland to be killed in the Night Owl? Meeks and his being murdered and the body hidden?

18.The set-up for the blacks, the arrest, the accusation of rape? The police raping, setting up the blacks, the murders including Stensland? The interrogations after the raid on the blacks, the fears, the threats about prison, about being used in prison? Ed Exley and the interrogations, the good cop, bad cop routines, letting the interrogations be heard by the listening squad? The false confessions?

19.Bud White and the suspicions, going to Johnny Stampanato, going to Patchett, finding him dead? The interaction with Lynn? Anger? The confrontation with Exley, combining with him?

20.Ed Exley, the relationship with Lyn? The photos? Smith setting up Exley with Lyn, getting Sid Hudgens to take the photos? The role-play for Bud White’s benefit and setting him against Exley?

21.The character of Smith, the final set-up, his explanation of himself, the loyalties of his men? The siege?

22.The somewhat cynical ending, Ed and his decoration, using people? Bud White and his injuries, going to Arizona?

23.The film showing people transformed, improving – with the touches of redemption for integrity: Vincennes becoming less cynical and honest, Exley less rigid and becoming involved, Bud White and the goodness that Lyn saw in him coming out?

LA LENGUA DEL LAS MARIPOSAS (BUTTERFLY TONGUE)

Spain, 1999, 98 minutes, Colour.
Fernando Fernan Gomez, Manuel Lozano.
Directed by Jose Luis Cuerda.

Butterfly Tongue is an impressive film. It received many nominations and several awards at festivals around the world and in its native Spain.

The film focuses on a young boy played by Manuel Lozano. He is an attractive character and audiences identify with him. The audience sees the world through him – especially after his reluctance to go to school and his meeting with Don Grigorio (veteran Spanish actor Fernando Fernan Gomez – The Spirit of the Beehive). Don Grigorio opens up a world of nature to him, explaining the Butterfly Tongue. He also enables the young boy to trust others. In the background is the story of the family and of the boy’s older brother who wants to be a saxophone player.

As the world opens up and the boy starts to come of age, he discovers deeper and more adult realities, especially sexuality.

However, it is the eve of the Spanish civil war and when the war breaks out, the boy is affected as his mother and father are on opposite political sides. The father is arrested. Don Grigorio is taken away to prison. The boy finds himself shouting abuse at the teacher that he loves in order to save himself and his family. This ending symbolises the anguish of the Spanish civil war.

1.The screenplay based on a series of short stories, their being woven together into a feature-length film?

2.The perspective of film-makers in Spain in the 1990s, their looking back at the civil war, through the period of Franco, the aftermath of Franco? The critique of Spain of the past?

3.The re-creation of Spain in 1935-36? The detailed attention to the village and life in the village, the surrounding countryside and the beauties of nature? Homes, the school? An authentic atmosphere? The musical score and its flavour?

4.The title, Don Grigorio and his teaching Moncho? Moncho learning through the Butterfly Tongue? Moncho’s growth and its being fostered by Don Grigorio?

5.The film’s focus on Moncho, the boy, his age, his relationship with his brother, his place in the family? Their concern about his health? His reluctance to go to school, his fears? His mother and her role in influencing him? Going to school, the introduction, the children and their mockery, wetting his pants? The teacher, concern, the apology – and the possibility of starting again? Moncho warming to Don Grigorio, his delight, reading, listening? Learning more information? Going for the walks? With the girl? With Rocco – and his curiosity? The church, sex, the questions? Moncho and the detail of life at home?

6.Don Grigorio, the wise teacher, a character in himself, his age and experience? A widower? His relationship with the children at school? His meeting Moncho, seeing Moncho’s upset? The apology? The gift of the suit? His socialist background, atheist – in Catholic Spain? His offering friendship to Moncho? The classes, his joy in teaching? His retirement – and the tribute?

7.The focus on the man, sex, the dog, the boys following? The mother, the irony about the father’s daughter, the funeral?

8.The picture of the church in these times, its domination, the role of the parish priest, his views and their expression?

9.The background of the fascist, his son, the pressures? The bribes and Moncho’s reaction?

10.The differences in Moncho’s family, the stances of the mother compared with the stances of the father, the Republican stance, the papers etc? The mother and her being loyal to the church?

11.Rocco, at home, playing, the band – and the trip with Moncho going for the band to play? The dance and his being minded?

12.The carnival sequences, the Mediterranean spirit, the spirit of joy?

13.The film giving a setting for war, the building up of tensions, the rumours of wars? The war breaking out, family decisions, the father, the mother and the destruction of the family?

14.The group of Republicans, Don Grigorio, the man from the band? The shouting, the mother and the insults to Don Grigorio as he left? The effect on Moncho as he yelled out the insults?

15.The future for Moncho, living through the Franco period, the aftermath of the Franco period? Spanish audiences reflecting on their own experiences? The communication of these experiences to a world-wide audience, through drama, emotions?

A LETTER TO THREE WIVES

US, 1949, 103 minutes, Black and white.
Jeanne Crain, Linda Darnell, Ann Sothern, Kirk Douglas, Paul Douglas, Jeffrey Lynn, Thelma Ritter, Connie Gilchrist, voice of Celeste Holm.
Directed by Joseph L. Mankiewicz.

A Letter to Three Wives won two Oscars for Joseph L. Mankiewicz in 1949, for best screenplay and for best director. He was to win the Oscar for best director in the following year for All About Eve.

A Letter to Three Wives is very wittily written, the style of Mankiewicz's films from the late 40s into the 1960s - even with the financial disaster of Cleopatra.

The film is set in middle America, focuses on three marriages in an American in Upstate New York. Celeste Holm provides the voice-over of the mutual friend who announces in a letter that she has left town with one of their husbands. This gives the opportunity to look at flashbacks of the three marriages, their strengths and weaknesses. Jeanne Crain is the devoted wife to the very successful Jeffrey Lynn - but suffers from self-consciousness and her farming background. Linda Darnell is the girl from the wrong side of the tracks who marries the up and coming businessman, Paul Douglas. Ann Sothern is an ambitious writer for radio and Kirk Douglas is her schoolteacher husband. The performances are very good and interesting to see Kirk Douglas in an early light role, Linda Darnell and her beauty matching sparring with Paul Douglas in his first screen role.

1.The Oscars, the work of Joseph Mankiewicz, his wit in screenwriting?

2.The American settings, middle America, the town, socials, school, the outdoors, the river? An authentic feel of US, 1949? Musical score?

3.The structure of the film: the voice-over of Addie Ross, her letter? Its effect on the three wives? The flashbacks to introduce them, the flashbacks for their interactions? The end of the day, the decisions about who had gone with Addie Ross? The climax?

4.The focus on Deborah and Brad, the ideal couple? Deborah and her nervousness with the group? Being sick? Drinking too much? The background of the farm, the war effort? Brad as the catch? Their life in the town? Going out? Rita and George and their support? Lora Mae and Porter, the offhand manner, the squabbling? The fiasco of the first social? Her getting the letter, going with the other wives on the excursion? With the children? Brad not coming home? Her suspicions? His behaviour in the morning? Her being resigned to the fact that Brad had left?

5.Lora Mae, her background, her mother, Sadie? Across the tracks? Her relationship with Porter? Porter and his business background? His visiting, Lora Mae's sister? Going out with Porter? Wanting to marry him? The tensions? The socials, Porter and his behaviour towards Lora Mae, his comments? Dancing? The other couple? The fact that he came home on the day?

6.Rita and George, the introduction to both, Rita and her ambitions, writing for the radio, George and his school-teaching? The preparation for the visit of Mrs Manleigh? With her nondescript husband? Her talking? George speaking his mind? Rita upset? Wanting the job for George? The interactions between the two? Rita and her concern about George, his going off in the morning? That he would not return?

7.The comparisons between the couples? Their life together, the backgrounds, Deborah coming into the select group? Clubs?

8.Mrs Manleigh, the satire, her listening to the radio, the soap operas, the advertisements? Her husband agreeing with her? George standing up to her?

9.Lora Mae's mother, the hard life? Her sister? Sadie - and Sadie in the house, Rita wanting her to wear uniforms? Thelma Ritter's kind of comedy?

10.The revelation that Porter had gone off with Addie Ross? His return? Not being able to go through with it? Deborah's relief? Rita and George together?

11.The comment on marriage, commitment, ordinary lives, in the middle class? Fidelity and infidelity? Building on marriage?

12.The character of Addie Ross, the way that people spoke about her, Celeste Holm's tone in her voice-over? The relationship with each of the three husbands? The credibility of Porter going off with her?

THE RETURN OF RINGO

Italy, 1967, 98 minutes, Colour.
Giuliano Gemma, George Martin.
Directed by Duccio Tessari.

The Return of Ringo is one of many dozens of spaghetti westerns of the 1960s. Sergio Leone paved the way with his Dollars films and The Good, the Bad and the Ugly. Many Italian directors followed including Tussari who made several of these westerns as well as the war film, Heroes, with Rod Steiger.

Giuliano Gemma was also a leading man of the period and a strong Ringo. The film is set after the civil war, Ringo returns and finds that the Mexicans have taken over his property because of finding gold in the nearby river. His wife is about to be married to the son of the Mexican owner. Ringo disguises himself as the assistant to the florist in the town, gradually sets up a situation whereby he can confront the Mexicans. Much of the photography is iconic in the sense that the central characters, stances, situations are all symbolic as well as realistic.

1.The popularity of spaghetti westerns in the 1960s? This film as an early spaghetti western? Its style? The images, the landscapes, the iconic poses and postures? The action?

2.Giuliano Gemma, Montgomery Wood as his American name, his role as a star in Italian films? The imitation of the American styles?

3.The Spanish location photography, the Mexican- American border? The towns, the ranches? Ennio Morricone’s score? The melodies and themes?

4.The pattern of the spaghetti western with the end of the civil war, the returning soldiers, the landowners and ranchers, wives and widows? The tensions?

5.The character of Ringo, his stature, screen presence? As soldier – and as later hero? The contrast when he was working as a menial in the town, with the florist? His experience of war? The absence for many years? Leaving his wife and child at home? His return?

6.His disguise, coming into the town, the change in the town, the people in the saloon, the Fuentes family and taking over the ranch? His memories? Not working?

7.Miosotis, his manner, voice, working as a florist, supplying the funerals? Ringo being assigned as his help? Ringo not wanting to be Ringo, satisfied in the town? Upset at the Fuentes family, the behaviour in the town, the saloons?

8.Seeing his son, seeing his wife? His change of attitude? The Fuentes father and son? The son and his planning to marry Hally? The preparations for the wedding? The church? The ceremony?

9.His change of plan, contacting his wife, the attack? The Fuentes family, the confrontations, the attack on the ranch, the explosions? The stunt work?

10.The Fuentes family, the arrogance of the father, the gold? The Mexican background? The men? The saloon dancer, her relationship with the Fuentes father? Turning against him? The son and his callous attitudes? The family celebration, Ringo and his presence, the shooting?

11.The build-up to the resolution? By a battle, confrontation between good and evil?

THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD

US, 2007, 154 minutes, Colour.
Brad Pitt, Casey Affleck, Mary- Louise Parker, Sam Shepard, Sam Rockwell, Jeremy Renner, Paul Schneider, Michael Parks, Ted Levine.
Directed by Andrew Dominik.

The Assassination is a fine piece of filmmaking. It is a Western, but not in the Hollywood vein.

It is based on a novel by Robert Hanson, read by Andrew Dominic who was intrigued by it and, as an Australian and an outsider to the American West, was an interesting choice to adapt the novel and to direct the film. The film is quite epic in its length and narrating of the legend of Jesse James - without going back into the past but rather focusing on the last year of Jesse James’ life.

The film is unlikely to be a big commercial success. It is far too serious for many of the multiplex audiences, despite the presence of Brad Pitt as Jesse James. The film is also strong in its breakthrough performance for Casey Affleck as Bob Ford. Affleck was in the background of a number of films including the three Ocean’s films as well as Gus van Sant’s ‘Jerry’ with Matt Damon. He was then to appear in his brother’s first film as director.

The film is on a large screen but rather dark in its presentation of life in the American West, especially in Missouri in the 1880s. The seasons are Autumnal and Wintery, the countryside is bare or under snow. The towns are rather bleak, especially the new houses in what were to become the suburbs of the cities of Missouri.

The film does present some action, opening with the last train robbery performed by the James brothers and their gang. By this time, after 15 years of activity since the end of the Civil War and their fighting for the south, most of the early partners in the robberies were in jail or dead. They now have a new group of men, especially the Ford brothers. Bob Ford, very young, tries to persuade them to take him on - and he finally becomes a companion for Jesse James.

The film shows the respectable life that Jesse James lived as Thomas Howard in the cities - although he and his wife and family were continually on the move. Something was happening to Jesse James, a mental condition - perhaps psychopathic in his early years, a depression setting in, an even more determined cruelty to destroy those whom he thought were betraying him as well as a seeming resignation, at least in this plot outline, that Bob Ford should kill him.

Brad Pitt gives a very fine performance showing the deterioration in the character and psyche of the outlaw. Casey Affleck leads a very strong supporting cast including Sam Rockwell as Charlie Ford, Mary Louise- Parker as Zee, Jesse James’ wife, a cameo by Sam Shepherd as Frank James, Jeremy Renner as one of the gang.

While the film does supply a long look at the way that the James brothers did their robberies, the main part of the plot is Jesse tracking down the various members of the gang, suspicious of them, destroying those he thought were betraying him, finally confronting Bob Ford.

The film is interesting in its movie history of the James brothers, silent films and those of the 30s emerging at the end of the 30s with Tyrone Powel as Jesse James and Henry Fonda as Frank James who also appeared in The Return of Frank James. This was the period of presenting many of the outlaws including Robert Taylor as Billy the Kid. During the 1940s and 50s there were some small budget films focusing on these outlaws and their exploits including ‘I Killed Jesse James’. By the 1970s, there was a demythologising of the American West in such films as ‘Doc’ and ‘Dirty Little Billy’, deconstructing the myths of Doc Holiday and Billy the Kid. But, by the end of the 70s, Walter Hill made an epic, ‘The Long Riders’, with the various sets of brothers in the outlaw gangs including the James brothers, the Fords, the Youngers.

In the 1990s and the years following there was some kind of glorifying of the outlaws again. This film takes audiences back to the demythologising.

With Andrew Dominic as director, there will be many theses written about the comparison between the psychotic criminal, Mark “Chopper” Reed, the subject of Dominic’s first feature film and award winning film for Eric Bana as Chopper and Brad Pitt’s performance as the psychotic killer, Jesse James.

1.Jesse James: the reality, the myths? Demythologising? His impact in the 21st century? American audiences? Worldwide audiences? The James gang, the Fords?

2.The scope of the film: length, photography, muted colour, the sets, 1881-82, the 1890s, the Nick Cave score, Nick Cave singing?

3.Missouri in the 1880s, Colorado in the 1890s? The use of the locations, the re-creation of the western towns, the isolated farms, the suburbs of the growing towns, the theatres, saloons? Realism – heightened?

4.The title, the movie tradition of films about Jesse James? As hero? As villain?

5.The length of the film, based on the book by Ron Hanssen? The western tradition? The anti-western? A focus on characters? A bleak portrait? The end of an era? Jesse James as a myth in his time? The theatre performances after his death – especially by Robert Ford?

6.The information, the James gang and their robberies from 1865 to 1881, the raids, the train robberies, Frank James and his influence, Jesse and his participation? The background of Jesse James’ wife and family? The number of murders that he committed? Jesse James at the end, his age, experience, family, reputation? His cover and calling himself Howard, man of business, at home, his wealth?

7.The last robbery, Frank and the distance between himself and Jesse? The new members of the gang, the old members dead or in prison? The individuals, the Fords? Robert Ford and his place, the plan for the robbery, waiting, the execution of the robbery, blocking the tracks, stopping the train, the guards and the safe, Jesse’s brutality, robbing the passengers? Leaving? The glimpse of Frank James?

8.Robert Ford, his age, his brother, talking with Frank at length, Frank’s reaction, meeting Jesse, trying to ingratiate himself, studying him, knowing all about him, having Jesse on a pedestal? Jesse’s reaction, taking a shine to him, allowing him to participate in the robbery, in the rest of the gang’s action?

9.The aftermath of the robbery, Frank disappearing, the split amongst the group, the various friends and their alliances, the differences, the issue of the reward for Jesse James, meeting, riding, talking, hiding? The role of the Fords? Loyalties and disloyalty?

10.Jesse at home, his wife, the children, the various moves, the danger? His moving around, getting information, checking on the men, the issue of the reward, his becoming paranoid, his relationship with the Fords, on edge, the lies, following the men, confronting, killing? The Fords and their reaction?

11.Jesse James’ character in his final years, the background of psychopathic or sociopathic behaviour? His age, depression, paranoia, the questions, his smile, listening, shooting? Travelling with the Fords?

12.Robert Ford, his age, with the gang, his relationship to his brother, imitating Jesse, Jesse and the pursuit, his working in the store, the escape? His being spurned? His self-image, his friendship with Jesse, the discussions with the authorities, the build-up to the killing?

13.The older Ford, his character, in the robberies, loyalty, his talking, on edge, with Jesse, joking, travelling, the climax?

14.The other members of the gang, their personalities, friendships, turning each other in, the havens, the deaths?

15.The effect on Robert Ford, his talking with the authorities, the possibilities, the pressure, his brother, following Jesse – the build-up to the assassination, Jesse looking in the mirror – tacit consent for Ford to shoot him or not?

16.The funeral, the photos, Jesse James in state? The papers? The photographers?

17.Robert Ford and the authorities, performing around the countryside, the audiences, the reactions, the west, the young woman and the singer in the saloon, his relationship with her, his life going downhill? His death? His reputation as a coward?

18.The film as a demythologising of the western outlaws? The fact that Jesse James is still remembered – as different from the coward, Robert Ford?

NIGHTWATCHING

UK, 2007, 134 minutes, Colour.
Martin Freeman.
Directed by Peter Greenaway.

Night Watching is Peter Greenaway’s interpretation of the career of Rembrandt, focusing on his painting of the Night Watch.

Greenaway, with his artistic and architectural background, came to prominence in the 1980s with The Draughtsman’s Contract. His films were something of an experience and not necessarily a narrative kind of storytelling. The visuals were important, hidden messages in the visuals, particular codes - this was true of The Draughtsman’s Contract, and, especially, of his interpretation of Shakespeare’s The Tempest, with John Gielgud and The Pillow Book.

Having made a name for himself with such films as The Cook, The Thief, His Wife and her Lover and The Baby of Macon, he ventured into more explicit explorations of human nature and sexuality. This was true of The Pillow Book as well as Eight and a Half Women. Greenaway then made the esoteric series of films, the Tulse Luper Suitcases. These were more art house installation films than features. So, it is something of a surprise to see him returning to his old way of making films as well as presenting a narrative.

The film is a visual delight. Many of the scenes are tableaux, imitating the style of Rembrandt’s paintings. Many of the sequences are done on sounds stages in a stylised way with only a few outdoors.

What is also of interest is Martin Freeman’s impersonation of Rembrandt. Martin Freeman is better known as a comedian (The Office, A Hitchhiker’s Guide to the Galaxy) but he brings this comic talent as well as seriousness to the portrayal of the artist. One gets an impression of eccentricity from the artist, his poor background, his clashes with the burghers of Amsterdam, his shrewdness in getting funds. It also shows his love for his wife, Saskia, and their son, Titus. He is distraught by her death, taking up with the widow Geertje and then finally falling in love with Hendricka, the maid in the house.

It is difficult to know how much truth there is in Greenaway’s interpretation. He may be following the leads of his earlier films with secret codes - and the importance of the Da Vinci Code in interpreting the Last Supper and the Mona Lisa.

The film has a lot to say about Dutch society at the time, power, greed, intrigue. The interpretation of the painting is that it is Rembrandt not only painting the significant characters in the story but also giving clues that it is a plot, a murder, as well as a condemnation of the moral values and stances of particular people in the painting. When it is finally exhibited, the fathers of the city take a dim view - but decide that it should hang and that ultimately Rembrandt would destroy his career. The film is graphic in its portrayals of sexuality, in its more contemporary earthy language. However, it is another experience as well as some insight into the life and career of Rembrandt, especially seen in his times.

1.The impact of the film, visual, sound, dramatic, theatrical? Cinematic? An artistic experience?

2.The work of Peter Greenaway, as a visual artist? Film-maker? His mystery, the codes? The interpretation of meanings?

3.The colour photography, the colour itself, light and shadows? Exteriors? The interior staging, the tableau? The style imitating that of Rembrandt and the 17th century? Its effect for the audience? Appreciation of the art and styles? The musical score?

4.Audience knowledge of Rembrandt, his life, his achievement in art, his wife, relationships, family, the authorities in Amsterdam? The background of Holland in the 17th century?

5.His art, his genius, inspiration, form, portraits, meanings? His public art? Reputation?

6.The film’s focus on the painting, Nightwatch? The title of the film, watching? The background story – with the touches of conspiracies like The Da Vinci Code? His contract with the authorities, the money, expectations, the gentlemen for the painting, their clothes, design, colour, postures, expressions? The fittings, the sittings? The expectations from the type of portraiture of the time? Rembrandt changing it? His interpretation of character, inserting the story and the illusions, the militia, the murder, the gun, characters, the young girls? The moral judgments on some of the characters? The authorities’ response, negative, the display, the decision to wait out the scandal, and for Rembrandt to ruin his career?

7.The introduction, Rembrandt’s dream, the attack, his being beaten, stripped? The interpretation? Later, the repetition? Rembrandt experiencing himself as victim?

8.Martin Freeman’s performance, Rembrandt in himself, rough, a success, the patrons, his contacts, his household? His love for Saskia, her money? Her pregnancy, the birth of the child? His love for Titus? Saskia’s illness? Geertje in the household, the friendship with Saskia? Rembrandt’s later relationship with her? The raunchy aspects of the relationship? Hendricke as the maid, young, Rembrandt defending her against attack, the attraction, love, inspiration?

9.Saskia in herself, love for her husband, keeping pace with him, the pregnancy? The birth, Rembrandt making a fuss? Her illness, the relationship, her death? Her friendship with Geertje? Geertje in herself, the widow, the sexual relationship, raunchy, her status in the household? Language and behaviour?

10.The characters of the citizens, the commission of the painting, all wanting to be in it, the relationships, the trade, England and the civil war, the militia, the exercises, the death?

11.The story of the two sisters, the orphanage, the people in charge, their being chosen, abused, the disfigurement of the face by the coffee, the other sister, her talk, supported, on the roof with Rembrandt, her killing herself? Their place in the paintings, the comment on brutality, sexual behaviour?

12.Seeing Rembrandt and his skills, the paint, the set-up, the plans, the methods?

13.The effect of Saskia’s death, Rembrandt not painting, his love for Hendricke, starting again?

14.Greenaway and his earthy approach to the story, the use of nudity, contemporary language, imagery, explicit sex scenes?

15.The audience being immersed in 17th century Holland, in the artist’s life, his experience and inspiration? A work of art and its creation?

NESSUNA QUALITA AGLI EROI

Italy, 2007, 102 minutes, Colour.
Irene Jacob.
Directed by Paolo Franchi

This is quite a miserable film. It has winter settings in both Turin and Geneva.

It focuses on a middle aged man who seems to be undergoing a crisis, unable to have children, resenting his artist father, in love with his wife and depending on her but wandering around the city. He encounters a young man who befriends him, takes him home, and continues to follow him everywhere, even to the exhibition of his fathers work. As they talk, we see more of the young man, his sexual encounters with is girlfriend, his fantasies about the middle aged man's wife.

It emerges that the young man has killed his banker father to whom the middle aged man was indebted. However, at the end of the film, we see the middle aged man going to the police to confess that he killed the banker. It seems that the young man was his alter-ego.

While, finally, the plot makes a great deal of sense in terms of this psychological drama, the tone is particularly grim, gloomy - and rather hard going.

1.A bleak drama? Crime, guilt, identity?

2.The Turin settings, winter, the colour photography but unsaturated? The locations, interiors and exteriors? Geneva? The exhibition? The musical score?

3.The title, the father’s painting, the explanation? Bruno and his relationship to his father, the story of the painting? The exhibition? His mother’s speech? The other paintings?

4.The character of Bruno, the portrait, a middle-aged man, in crisis, wandering the city, his wife and his relationship with her, sexual? Emotional? His financial situation, the loan, asking the extension? The encounter with Lucas, socially, giving him a false name? The later encounters, Lucas following him, the friendship, Lucas going to Geneva? Bruno becoming more morose, the dreams, his absences from the house, his wife’s puzzle? The disappearance of the banker, the suspicion of murder, the news? Confronting Lucas, and the death of his father? The accusation?

5.Lucas as a character, young, the relationship with his girlfriend, explicit scenes? The father and his absence? Issues of money? Lucas having the list of debtors? The approach, the false name from Bruno, the bond between them, following, identifying, his dreaming of sexual encounters with Bruno’s wife?

6.Bruno’s wife, the marriage, her concern, sexual intimacy, Geneva, at home? In Lucas’s fantasy?

7.The Geneva sequence, the exhibition, the background of Bruno, his mother making the speech? The party – and Bruno going out and away?

8.The ending and the plot coming together? The initial interrogation scene and Bruno’s health – and the recurring scene at the end and his confession of guilt? Lucas as Bruno’s alter-ego? The psychological dimensions, what in Lucas was Bruno? Why? The relationship with fathers? Murder?

9.A grim and gloomy experience of guilt and its consequences?

LUST, CAUTION

China, 2007, 154 minutes, Colour.
Tony Leung Chiu Wai. Tang Wei, Joan Chen, Wan Lee- Hom.
Directed by Ang Lee.

Lust, Caution, is a fine film from Ang Lee. Ang Lee has never repeated himself in his genres; comedy in the wedding banquet, English sensibilities and Jane Austen in Sense and Sensibility, American morals in The Ice Storm, the civil war in Ride with the Devil, Chinese martial arts with Crouching Tiger, Hidden Dragon, comic strips with The Hulk, sexual issues in Brokeback Mountain.

He returns to China with Shanghai and Hong Kong settings. The film is set during the Japanese occupation of Japan, beginning in 1942, arousing audience curiosity about the central character, a young woman (a powerful performance from Tang Wei) who plays Mah Jong with a group of matrons, wives of men who have collaborated with Japanese. It then goes back to 1938 and builds up a story about the resistance to Japanese occupation. It focuses on a group of young students who form a drama company. The young woman is chosen to become the mistress of their main target. When he moves from Hong Kong back to Shanghai, their plans collapse - and are reinstituted.

The film design is excellent, one feels that one is in Shanghai and in 1942. There is a meticulous attention to detail from the smallest interior to the trams in the streets.

The film is interesting in terms of audience knowledge of Japanese occupation, of the Chinese resistance during the war, of the Japanese occupation.
The focus of the title is gradual. However, it is only after 90 minutes that the film moves to 'full on' in explicit lust sequences, with Ang Lee portraying the raw passion of the two people concerned, sadomasochistic touches. Some audiences will find these sequences too explicit. However, this also helps us to understand the psychology of what happens when the assassination attempt occurs.

The performances are excellent. The film shows Lee's strengths in storytelling, eliciting performances, creating a world and a mood as well as raising moral issues. Winner of the Golden Lion in Venice, 2007.

1.The work of Ang Lee, in China, in Taiwan? His not repeating himself? The variety of films? This film for Asian audiences, world audiences?

2.Audience knowledge of Shanghai in 1942: the Japanese occupation, Shanghai as a city, cosmopolitan? Collaborators with the Japanese? Lifestyles and privations? The Resistance? The going back to 1938: the explanation of the Japanese war, China’s soldiers, defeat, going to Hong Kong, the refugees?

3.The structure of the film: 1942, reverting to 1938 for a dramatic explanation of the crisis in 42, moving forward again, resuming the 1942 episode?

4.The locations, the re-creation of Hong Kong and Shanghai, the details, costumes, décor? The musical score?

5.The title, the focus on lust – and the explicit lust only after an hour and a half? The lust of power? The explicit scenes? Their effect? The application of the title caution to Mr Lee, to Wong?

6.Life in Hong Kong in 1938, the refugees, the students, their studies? The recruitment for Japanese collaborators? The Resistance? The student group, their good friendship, the theatre group, the plan to infiltrate, buying the house, the plan, the change and the failure? Their dispersing?

7.The initial focus on the women in Shanghai, playing Mah Jong, gossiping? Rich women, their husbands, trade, ministers in the government? The effect of the war? The collaborators, the rich? People suffering privation? The introduction to Mrs Mak? The introduction to Mr Yee? The appointment with Mrs Mak, the coffee, the restaurant, her phone call? The code? Kuang and the group listening?

8.The migration of the displaced Chinese, going to Hong Kong, Wong and her role, as a student, her father going to England, the hope that she would be called there? Her friend, sharing the apartment, meeting the group, the performance, the dramatic impact of the play, the patriotism, the rousing response, the audience singing? Giving her confidence? Kuang, his support, his love for her – but unspoken?

9.Kuang, his place in the group, leadership? The other personalities? The woman? The men? Their motivations, the man with the money? The buying of the house as a cover? The plan? Leading a society life? Clothes? Wong and her being transformed into Mrs Mak? Mak as large, his agreement to do the role? Moving into society, meeting with Mr and Mrs Lee? Helping them with their tourism in Hong Kong? The issue of sexuality, Wong’s preparation, initiation? Meeting Lee? The delicacy of her response?

10.Lee, as a personality, in Hong Kong, his recruiting, his staff? His role for the Japanese? Hard? His wife, Wong’s friendship, her explanations of herself and her husband? Touring, the meals, Shanghai cuisine, becoming friends? Access to the house? The effect on Lee, the discreet approaches? The change of plan and leaving for Shanghai?

11.Shanghai three years later, Wong disappearing from the group, her work in Shanghai, the hard life? Kuang’s reappearance, the group? Being taken to the head of the Resistance, the discussions, the interviews, the suicide pill? Her becoming Mrs Mak again, joining the group, their welcoming her? Especially Mrs Lee, her friendship, shopping, discussions?

12.Lee in Shanghai, his authority, his work? His approaching Wong? The meetings? The sexual encounters, the lust, the explicitness? The effect on Lee? The effect on Wong?

13.Lee and his sadistic approach, masochistic? Wong being repelled? Yet his manner, buying the elaborate ring, the beauty of the ring? The effect on Wong?

14.The set-up, her making the phone call, the shop, the Indian jeweller? The Resistance and their plan? Following Wong? Wong and her warning Lee, his fleeing? The round-up of the Resistance?

15.Wong, the effect on her warning Lee, her arrest, the interrogation? The discussions with Lee, his not wanting to interrogate her, his past interrogations and torture? The information about her background? The fact that he had been deceived? His giving her himself, the room in the house, his complete devotion? His relationship with his wife – and the future?

16.The execution scene, the Resistance, Wong’s death?

17.A story of a particular historical time, from a Chinese perspective, the Japanese perspective? The experience of World War Two? As a setting for a romance, a love story, a lust and power story?

BLOOD BROTHERS

Hong Kong, 2007, 95 minutes, Colour.
Daniel Wu.
Directed by Alexi Tan.

Blood Brothers is a Chinese gangster film with a difference. It is character driven rather than action driven. It is set in Shanghai during the 1930s, a sumptuous period in Chinese history, the influence of Western styles, dress, music, nightclubs. This is the period of Zhang Yimou’s Shanghai Triad. It is also the period, which begins Ang Lee’s Lust, Caution. Other films utilising Shanghai’s location in the 20s and 30s include The White Countess and The Painted Veil.

In one sense, the plot is familiar. However, it is the interest in the characters, their interactions, and their moral crisis that retain the interest. There is gangster activity of the expected kind. There is also a final bloodbath - and the director, Alexi Tan, shows his love for and admiration of the spaghetti westerns.

Several of China and Hong Kong’s writing actors portray the three brothers. Two of them are actual brothers, the other their blood brother - and this theme of community is very strong in the gangster world. The main boss is betrayed by his right-hand man, considered his brother. He wreaks revenge on his brother and his former girlfriend. The three central brothers also have to face their life in the village, its poverty, their ambitions to go to Shanghai, the dreams of being waiters in a hotel, rickshaw jobs, eventually being caught up in the gangster world, even killing.

One of the brothers, the central brother, played by Daniel Wu, is a good man who finds himself killing others to save his blood brothers. He is also infatuated with the boss’ girlfriend, a would-be actress and nightclub singer. The other brother is dominant, power hungry, successful, and even eliminating rivals. However, he also kills his younger brother, a man affected by the violence, taken to drink, trying to save the hero.

The film recreates the period well, is lavish in décor and costumes, recreates the song and dance routines of the clubs of the 30s and the American style. It is a good character study - but some audiences may be alarmed at the spaghetti western bloodbath at the end.

1.The Chinese gangster film tradition? Films about the 30s, Shanghai, the historical period? The blend?

2.Village life, the streets? The contrast with Shanghai, the lavish sets, the streets, trams, rickshaws, the club, warehouses, offices? The context for the gangster film? The musical score?

3.Shanghai in the 30s, its place in China, the French section, the foreigners, the influences from the West, clothes, nightclubs, dancing, guns? The situation pre-World War Two?

4.The visual style, dramatic, period, gangster action? The homage to the spaghetti western?

5.The title, the importance of friendship, bonds, the consequences? The gangster fraternity and blood brothers? The emphasis on blood?

6.The opening, the snow, the death in the car, the comments on Paradise? Not Paradise?

7.The three friends, their life in the village, poor, Fung and his house, his mother, his girlfriend, sitting and talking with Hu, the dance, his shyness, Kang and his punching the intruders? Setting the tone?

8.Hu’s birthday, the watch (and the later use of it as a symbol)? Eating, talking, deciding to go to Shanghai, to be waiters?

9.The rickshaw life, the rude passengers? Kang as a waiter, at the club, the two going in? The dance routines, Hollywood style? Boss Hong, his entourage? Bodyguards? The atmosphere of the club?

10.Kang, the boss, offering him the job, going to the warehouse, uncovering the guns and stealing them, Fung standing guard, going away, showing to save his brothers? The banquet in their honour and Boss Hong’s thanks?

11.Mark and his attempt on Hong’s life, his wound, encountering Fung in the street, being saved? Friends, the later consequences?

12.Fung and Lulu, his admiration of her singing, dancing, the walk behind her, his admiration, her reaction, taking her out, taking her to the film studio, on the swing? The later kiss? Finding her with Mark, his embarrassment? His inability to fulfil the contract? His going to save Mark and Lulu, the shooting, taking them to the village?

13.Boss Hong, the deaths, the French representatives making objections, Hong and his involvement in the movies, his promise to Lulu? The man who was interrogated by Kang and burnt. Hong’s reaction? Visiting his rival, killing him? His anger at Kang? As a personality, his dance routines, Mark’s attempt on his life, the contract on Mark and Lulu, humiliating Lulu?

14.Fung, the effect of killing people, knowing their faces, pondering what had become of him?

15.Hu, his taking to drink, his being insulted, his brother bashing the insulter? His saving Fung, his shooting his brother, his death?

16.Kang, power, evil, the influence of Hong, burning the man after the interrogation? Killing Hong? Taking over, killing Uncle and the others?

17.The countryside, the idyllic peace, Lulu and Fung’s girlfriend, the mother, the two women going shopping, the assassination in the street?

18.The return to Shanghai, Mark and Fung, the bloodbath?

19.The end, Fung reflecting on what had happened to him? Mark and the issues of fate? The history of gangsters in China?

MEDEE MIRACLE

France, 2007, 81 minutes, Colour.
Isabelle Huppert, Tommaso Ragno, Giulietta De Bernardi, Lou Castel, Isabel Ruth.
Directed by Tonino De Bernardi.

Medee Miracle is written and directed by lecturer and experimental filmmaker, Tonino Di Bernadi. He is collaborating with Isabelle Huppert whom he admired in the past and wanted to work with, eventually re-working the Medea story in contemporary times. Isabelle Huppert brings her customary aplomb to this performance, looking always the same but somehow or other, incarnating quite a different character from her other films.

Her ire in Medea is a refugee from Eastern Europe, having betrayed her father, coming to France with her husband - who then abandons her for a French wife. She supports her children, singing in nightclubs (Crazy Love, Nick Cave’s song made popular by Marianne Faithful). She has the assistance of a nanny, played by the director’s daughter, Giulia. She also has a scene with veteran Italian actor Lou Castel who plays her father.

Finding herself a foreigner in France, not accepted, upset by her husband’s infidelity, getting revenge on him by having a different man at her home every night, imagining, like Medea, that she killed her children out of vengeance, she eventually decides not to follow the path of this violence (hence the ‘Miracle’ in the title) and moves to the countryside in order to help shelter-less women. At the end, even this is literally a struggle.

This is an art film, a study of a woman, an adaptation of a literary work, experimental video production, and lighting, using both colour and black and white. It is a film for film buffs.

1.A specialist film? For film buffs? For technical film-making buffs?

2.The work of Tonino De Bernardi? Experimental? His use of film styles and stock? Video?

3.The Paris settings? The streets, the homes, the nightclub? Authentic atmosphere? The countryside? The interiors of public buildings? The atmosphere this created? Some scenes in colour? Others in black and white?

4.The musical score? The use of classical music? The use of Nick Cave’s song, ‘Crazy Love’, as sung by Isabelle Huppert?

5.Audience knowledge of Euripides’ Medea? Medea and her marrying Jason, leaving her country behind, deceiving her father? Going into exile, seen as a foreigner? Her children? Jason’s abandoning her? Her vengeance in killing her children?

6.The transition of the Medea story to contemporary France? Irene Medea from Eastern Europe? Her deceiving her father? Going with Jason? Living in France but being a foreigner? Her temptation to kill her children – her dream, but deciding not to? Her own infidelities in revenge? Her singing ‘Crazy Love’ in the nightclubs to sustain her children?

7.The character of Irene Medea? Isabelle Huppert’s screen presence and performance? In the waiting rooms, walking the streets, the happy birthday cake and party? The comment about taking men home? Martha and her spying on her? Her relationship with her children, love, not harming them? Her anger with Jason? Confronting his new wife? Her survival? Sitting in the streets and begging? The encounter with the bookseller asking where she was from? Her sense of alienation? Theatre transition to the country? A new vocation? The homeless people? Her visit to her father and his condemnation of her?

8.Martha, friendship, looking after the children, accompanying Irene? Helping her?

9.The glimpse of Jason, his womanising, his friendship with Irene, but not staying with her? With the children?

10.Jason’s wife, Irene confronting her in the street, warning her?

11.The theme of the homeless woman, seeing her in the waiting room? The struggle with Irene? The purpose? The result?

12.The structure of the film: the chapters? The effect of distancing the audience from the action?

13.A portrait of Irene? How strong a character study? Understanding of her psychology or not? The audience mean to be comparing the cotemporary Irene with the mythical Medea? The title and the fact that she did not kill her children?