CHAOS

Egypt, 2007, 122 minutes, Colour.
Khaled Saleh, Mina Shalavy, Youssef el Sherif.
Directed by Youssef Chahini and Khaled Youssef.

Chaos is a film by the celebrated Egyptian director Youssef Chahine assisted by Khaled Youssef.

The setting is contemporary, Chahine’s criticism of the contemporary middle east, dictatorships, police oppression, fascist styles of justice, an illiterate people, an oppressed people… This is the recipe for chaos.

The film is quite melodramatic in its style, its visuals, the characterisations, and the musical score with themes for particular characters.

The film’s focus is on Khaled Saleh as Hatem, the police chief in a particular district in Cairo. He rules it in the manner of a godfather for the locals, who come to him with all their troubles, and with their money. He deceives his superiors- who themselves are corrupt. He arrests protesters, hides them in a secret cell, tortures them.

On a personal level, he is infatuated with his neighbour, a young school teacher, menacing her, stalking her, eventually jealous of her relationship with a young and uncorrupted D.A, he abducts her and rapes her. This leads to a melodramatic style with ordinary people protesting, revelation of his guilt - and his suicide.

The film has the flavour of Cairo and its neighbourhoods; it has many sub-plots, interesting in a melodramatic kind of way. In many ways, it is a courageous film to be made in Egypt or in the middle-east Mediterranean in the 21st century.

1.The impact of the film? Its portrait of society, culture, oppressed people, illiterate people, moral framework? For Egyptian audiences? Beyond?

2.The director and his long experience of film-making, a film for the 21st century? His comment on Egypt and the Middle East?

3.The title, the opening, the protest and the police, the references to chaos during the film, the end with the final protest and confrontation? The facts of chaos, their causes, results, the possibilities of change or not?

4.Egyptian film-making style, melodrama, old-style and old-fashioned emotion, photography, editing? The musical score – and themes for characters?

5.The opening and its impact, the district of Cairo, the market, the protest, the chase, the shambles of turned-over stalls and food, the arrests? The treatment of the protesters? In the cells? The police, the abuse of Chief, their going to the DA and his freeing them? Their not being released, in the hidden cell? The scenes of torture? The chaos and its results?

6.The ordinary police, the police chiefs? The harshness? Representing the government? The fascist style? Capitalising on the ignorance, illiteracy of the ordinary people? Hatem as a symbol of this kind of oppression? His being an underling, the officials and his kowtowing to them? The lies? His local control, the graft, the personal applications and the giving of money, his solving of problems? His contacts? His using people, taking all the benefits for granted? His infatuation with Nour, stalking her, haunting her? His impositions, finally raping her? His cruelty? His anger, his personal past, wanting to prove himself? Authoritarian Egypt?

7.The officers in charge, protecting themselves, their lies, their not taking responsibility? Their careers? Denying the truth, hindering the investigations, giving false alibis? Defending their reputations? The revelation of the secret cells, the torture, the final confrontation?

8.Hatem as a character, appearance, short and fat, bald, the scene where he tried on the various wigs? Wearing the wig – and it slipping off? His tough stances, the interrogations, the torture? Toadying to his superiors? His capacity for eating, eating while receiving all the locals who gave their money? The informer, the picture, his ignorance in destroying the work of art, lying about the informer? The graft? His eating at various restaurants and refusing to pay, demanding more money? The photos, the altering of Nour’s photo, the life-size photos – and getting them gratis? At home, watching Nour, the advances, the shower, Nour’s mother and her rejecting him? His going into Nour’s room, the fetish behaviour, taking the photos, enlarging it, on his wall? His personal fantasies? Approaching Nour, seeing her with Sherif? Following them to the cinema, watching them, his rage? Sally and helping the set-up? For the release of her father? The meal, his abduction of Nour, her diving into the river, taking her, raping her? His hiding, getting an alibi? The protesters, his running, being chased, his shooting Sherif, killing himself? His final words about never seeing Nour again?

9.Nour’s story, her mother, her educational background, her degree without any education as she explained to the supervisor? Her mother caring, superstitious, the neighbours? Nour at school, her relationship with the headmistress? The inspector and his dissatisfaction at the students not being able to write? Nour telling the truth about the poor education, the teachers not being able to speak English? Chaos? The friendship with the headmistress, her son, sending him messages? Talking things over with Sally, infatuated with Sherif? At home, going to the headmistress’s, the issue of the fiancée, the talk, going out and buying the dress, her modesty with the short skirt? Her own crisis? Love, finally attracting Sherif, going out, the meals at each home, going to the movies, Hatem seeing them? The dinner, his laughing at his wig, the abduction, trying to escape in the river, the brutality of the rape, the blood on her dress, her strong-mindedness, returning home, trying to identify the criminal, with Sherif? At the end and the confrontation?

10.The headmistress, the efficient running of her school, pulling down the political advertisements, the background of her husband, their meeting at a protest? At home, as a mother, her overpowering her son, seeing him in the image of his father? Her dislike of the fiancée? Her son’s leaving home? Reliance on Nour, shopping with her? The joy when the engagement was broken off? The meals, the visits?

11.Sherif, his age, his work as a DA, not corrupted? The protesters? His relationship with the fiancée, her drug addiction, her pregnancy? His going to the dance, his jealousy? His being upset with her? Not noticing Nour, his reaction to his mother, her oppressive behaviour, his later apology? Leaving home, going to his friend, finding his fiancée? Her telling him about the abortion? His reaction? Finding solace in Nour? The meals, the cinema? His reaction to the rape? Going to the police, their reaction against him? Trying to identify the criminal on the river, the computer? The old man and his revelation about the secret cell, going down, his being vindicated? With Nour, Hatem taken? Hatem shooting him? His getting up and confronting Hatem?

12.Egyptian melodrama, emotions, heightened situations and characters, music?

13.The crowd coming together, supporting Nour’s mother, gathering, walking to the station, the protest? The police, the revelation of the secret cell? The contribution of the old man? The truth?

14.Hatem, the confrontation with Sherif, shooting him, shooting himself? Justice being seen to be done?

SUGAR COLT

Italy, 1966, 106 minutes, Colour.
Hunt Powers (Jack Betts), Soledad Miranda.
Directed by Franco Giraldi.

Sugar Colt is one of the earliest of the spaghetti westerns, although by 1966 quite a number were being made. Director Franco Giraldi had worked as a second unit director and helped Sergio Leone in For a Fistful of Dollars.

The film is beautifully shot, capitalising on the vivid Spanish locations standing in for the American west. The star is an American action actor, Jack Betts, who appears under the title of Hunt Powers.

The film uses a similar timeframe to many of the spaghetti westerns, the end of the civil war, the soldiers returning home. However, this time there is a variation as a troop is ambushed and taken prisoner to work in the mines for a greedy rancher. Pinkerton of the detective agency hires Doctor Tom Cooper, a top agent who has an institute for teaching women how to shoot. There are some comic touches in these scenes. Disguising himself as a bespectacled doctor, Tom Cooper goes to the location where the men disappeared, befriends the owner of the saloon and her attractive niece, confronts the ranchers, rescues the soldiers – for a big shootout with dynamite explosions as well.

Familiar material, but these days these spaghetti westerns are highly entertaining and seem much better than they were at the time, using iconic characters, stances and poses, situations.

1.The popularity of the spaghetti westerns in the 1960s? Their status now? Their style?

2.The Spanish locations, the re-creation of the American west? The colour photography, the mountains, the town? The musical score?

3.The iconic nature of the spaghetti westerns, the characters, postures, situations, crises, shootouts?

4.The opening, the soldiers marching through the mountains, 1866, the betrayal by the officer, the explosion and the avalanche, the deaths, the men imprisoned? The mystery of their disappearance?

5.Pinkerton, one of the soldiers’ fathers, their trying to hire Cooper, his dilettante attitude, the deaths of Pinkerton and the father in the street? His decision?

6.Tom Cooper as an agent, shootist, fop, training the women, the comedy of his shooting academy?

7.His appearance as the doctor, bespectacled, arrival, being mocked in the saloon, Bess and her niece, the niece spurning him, his coming down from his room, the boxing demonstration – and knocking everyone out?

8.Work in the town, gradually accepted? The rancher and his suspicions and hostility? Younger and the plot?

9.Cooper, going out to see Sam, the African American soldier, his trying to find the locations, playing the bugle?

10.The drug experience, the hallucinations, everybody happy, and the man confessing to the shooting?

11.Younger, the shooters? The doctor going for the swim, underwater, going downstream, contacting Sam, deceiving his pursuer?

12.The piano player, his friendship, giving the information to the doctor, his being tortured, his death? The funeral and the people fearful to go, the rancher coming to lead the people?

13.The revelation that the doctor was Sugar Colt? His demonstrations of shooting, seeing his assailants in the reflection on his ring?

14.The build-up to the confrontation, going to the ranch, the abduction of the niece? The soldiers being released? The niece and her peril, being saved?

15.The romantic background, Cooper and his listening in to conversations, going into the niece’s room, seeming compromised? Bess and her understanding? The niece and her abduction? Bess and previous relationship with the rancher?

16.The ride back to town, the confrontation with the rancher, Cooper chasing him through the mountains, shooting at him, his running into the town – and Bess killing him?

17.The happy and romantic ending – appropriate for this kind of film?

SHENTAN (MAD DETECTIVE)

Hong Kong, 2007, 95 minutes, Colour.
Tony Ching Wan Lau, Andy Oh.
Directed by Johnny To.

Mad Detective is another film from the prolific Hong Kong director Johnnie To. In the early years of the 21st century, he made a number of films, which were screened in Venice and Cannes at the festivals. They include Exiled, the two Election films, Breaking News as well as his collaboration with Ringo Lam and Tsui Hark in Triangle.

This film is more restrained than some of the gangster films of Johnnie To. It is a story of good cop bad cop. We are introduced to the mad detective immediately,

An eccentric police officer who has second sight, who reacts some of the crimes and then declares who the culprit is. However, in his eccentricity, he slices his ear to present it to his commander-in-chief on his retirement. He incurs the enmity of his squad and is dismissed.

However, another crime scene is shown and a young detective who admires the mad detective asks his help. We are introduced then into the mad world of the detective - who is divorced from his wife but continually imagines her presence, fights with her, flirts with her, and takes her to dinner. When they pursue the criminal policeman, considered responsible for the crime, the mad detective sees the seven different personalities within this policeman. They are quite varied - and the audience sees them. The mad detective then pursues the villain, interacts with the various personalities - but ultimately sees that the young officer is also timid, a child personality inside, fearful of the resolution. The resolution is open-ended as the young officer surveys three dead bodies and starts to change the guns from one hand to another, leaving the audience plenty of time to try to work out what has happened, their understanding of the mad detective, the intricacies of the plot and his psychological state.

1.The work of Johnny To, the genre films? His skill in doing crime dramas? Utilising Hong Kong locations? How well blended here?

2.The Hong Kong locations, the streets, homes, restaurants? The feel of Hong Kong? The score?

3.The variation on the good cop, bad cop?

4.The credibility of the plot, the sense of realism with the police and the crimes? The surrealism of the character of Inspector Bun, his insights and second sight? His madness?

5.The opening, the mad cop, the crime, the investigation, the young man reporting for duty, Bun asking him to put him in the suitcase, pushing him down the stairs – and emerging from the suitcase and announcing the solution?

6.The farewell to the chief, Bun cutting off his ear and presenting it? The squad’s response? The later difficulties with his ear? His being ousted?

7.The police situation, the stakeout, the bad cop, good cop, the bad cop taking the money from the wallet? Chasing the suspect, in the woods, the shooting, the disappearance of the policeman? The reappearance of the gun in robberies and murders? The mystery?

8.The young policeman, admiring Bun, coming to him for help? The problems, the visit, Bun’s reaction, Bun’s wife and her hostility?

9.Bun and his shopping with his wife, the return home, the young officer arriving? The clashes with his wife? Going to the office, the hostility of the members of the force? His punching the woman? His deciding to help?

10.Bun’s gift, seeing the personalities inside people, his reaction to these? The way these were visualised?

11.The situation of the investigation, the police, the corrupt policeman, his being at the restaurant with Bun and the young officer, Bun seeing the variety of personalities, the fat man eating, the hard policeman, the tough woman …? In the toilet and his behaviour? The response of the different personalities? The variety of the personalities?

12.Bun’s wife, at home, appearing for the meals? The young officer and his girlfriend? Audiences surprised to find that the wife was completely imaginary? Further aspects of Bun’s madness? The response of the restaurant owner? Playing along?

13.The appearance of the real wife, the divorce, a tough policewoman, her concern about Bun and his not taking his medication?

14.The build-up to the climax, the Indian as suspect, the corrupt policeman, his different personalities? The pursuit? The young officer, his being afraid, the personality of his child emerging and appearing? The expression of his fears? Bun’s reaction?

15.The end, the violent confrontation, the shootings, the deaths, and the rearranging of the guns?

16.How entertaining a police thriller? Murder mystery? An exploration of psychological states?

L'ORA DI PUNTA

Italy, 2007, 95 minutes, Colour.
Fanny Ardant, Michele Lastella, Giulia Bevilacqua, Augusto Zucchi.
Directed by Vincenzo Marra.

L' Ora di Punta is a strong Italian drama about corruption, social, police, and individual.

The film opens with a portrait of a young police officer, played by Michele Lastella. Audience presumption is that he is honest, ambitious, working hard.

However, it very soon emerges that he has potential for corruption and his captain is also in on particular deals.

The film charts the assent, monetary and power terms, of the young man. It also charts at the same time, his descent into moral chaos. He tried to blackmail an industrialist by giving him a false report into how well his factory is doing. The shrewd industrialist kept the two forms of the report in order to safeguard himself should the need arise. And this is what happens. He asks the young man for help, who refuses, and then becomes the target (with his stooping then to kill his assailant).

French actress Fanny Ardant appears as a rich woman who manages her husband's business. She becomes emotionally involved with the young man - who betrays her with his former sweetheart (who herself had rejected him, finds herself still in love with him, finds herself also betrayed for a second time).

The film does not have a resolution, rather it shows all the main protagonists at the state where the film ends, open-ended, but looking it seems to further corruption and the young policeman's downfall.

1.The impact of this film concerning Italian life, morals, government, police, business? A portrait of corporate and individual corruption?

2.The Roman settings, the apartments, the police precincts? Ostia and the building sites? The wealthy homes, hotels? A mixture of Roman society? The musical score?

3.The title, crisis hour, traffic merging, decision-making? Pressures?

4.The introduction to Filippo, watching the shop, his partner on the street? The raid on the Chinese shop, the smuggled goods? The report to Captain Salvi? The praise for Filippo and for Prisko? The antagonism between the two young men?

5.Filippo, at the station, meeting his mother, the meal near the Colosseum, the memory of his father? Police work? His mother lonely in the village? Pride in her son, his studies, achievement, with the finance police? The build-up to Filippo as a decent man? Audience expectations?

6.Filippo overhearing Captain Salvi, the discussions about a mission? His hurrying the report and forcing Prisko? His getting the mission? His going to Donati's warehouse? The factory, the documents? His assistant? His discovering the truth about illegal immigrants, payments, taxes? Confronting Donati? Donati and his offering the bribe? Filippo taking it? Going to Captain Salvi and working in collusion with him? The tacit agreement?

7.Salvi, his authority, corruption? On the take? His knowing that the men under him had been taking money? Filippo trying to defraud him, his being unmasked? But found suitable for the work?

8.The meeting with Caterina, her factory, his being charming to her, forward, seductive? Her following up, the sexual liaison? Her being a widow, her husband ill? Her factory? Filippo and his using her to meet influential people? The reception, her introduction? Senators, bankers? The recommendations? Filippo and his visiting the banker? Getting the loan?

9.The plan, discussing with shady dealers? The building site, the firm going into liquidation, buying it cheaply? Raising the money? His assistant doing the spadework?

10.His relationship with Francesca, going to the shop, watching her? Her rejection of him, her anger at his having had an affair? His explaining himself away? Audience shock at his affair with Caterina? His following through with Francesca, her beginning the relationship again, in love with him? Discovering that he was with Caterina, her making concessions, her not wanting to make the same mistake twice, her asking him to leave Caterina, his failure? Her walking out?

11.The difficulties with the documents? Payments? Owing the bank and their wanting to withhold loans? His discussions with the captain, the captain distancing himself? His growing desperation, his deceiving of Caterina, her being aware of it?

12.Donati, his coming again. having kept the true report as well as the false report? Holding it over Filippo? Filippo and his decision to get rid of Donati, the murder?

13.Filippo, his wealth, high life, the good things in life, the gift of the ring to Francesca, her throwing it away, his giving it to Caterina? His complete hypocrisy? His danger of being brought down?

14.The final images, the captain and his independence, Francesca walking away, Donati and his death, Caterina and her loneliness in the apartment? The final freeze-frame on Filippo and audiences judging what he would do and what would happen to him?

HOTEL MEINA

Italy, 2007, 110 minutes, Colour.
Benjamin Sadler, Ursula Bushhorn, Ivana Lotito, Buse Butz.
Directed by Carlo Lizzani.

Hotel Meina is a story of World War II, of the German occupation of northern Italy, of Jews taking refuge on the Swiss border. The hotel is a resort but also a refuge.

The film shows a group of Jewish families, bewildered by what was happening, hearing rumours of the concentration camps, eventually told they are going there-only to be secretly shot and their bodies bound and dropped into Lago Maggiore. The film also focuses on the management of the hotel- a Turkish family.

The Germans are presented in the usual way, the commander being an ideological Nazi, disciplinarian with his men, cruel in his killing of the Jews, lascivious in his approaches to a German visitor. The German visitor herself has to keep up Nazi appearances but is actually helping in the escape of a professor to Switzerland as well as aiding in an attempt to help the Jews escape.

The film is conventional, classical in its making, an attention to detail, the locations, close ups on characters, romantic interactions, and the sense of tragedy.

It was directed by Carlo Lizzani at the age of 84, a veteran Italian director of a range of films from documentaries, spaghetti westerns, features and television work.

1.The ever-popularity of World War Two stories? Jewish stories? The few Italian stories of the war in looking at it in retrospect? The perspective on the 40s? Impact at the beginning of the 21st century?

2.The director, his age, his style, classical? Italian and emotional? Close-ups, tensions, the musical score and the themes for different characters?

3.The title, the focus on the hotel, the hotel for holidays, a resort, a refuge, occupied by the German forces, the Jewish refugees, the Aryan visitors? The action in the hotel? The symbolic nature of the hotel?

4.The location photography at Lago Maggiore, in the 40s, the look, the beauty, the style of the hotel, the lake itself?

5.1943: the radio announcement of the armistice, the rejoicing, Mussolini in Germany, urging the Italians to fight, allied with Germany and Japan? The German occupation, not retreating? The Jewish refugees in Italy, the stories of the camps? Italy and Milan bombed by the Allies? The tragedy in Italy until 1944?

6.Noa, swimming, imagining Julian – and the reality at the end?

7.The Turkish family, running the hotel, taken by the Germans for interrogation, allowed back, hosting the guests, Noa and her work, the other members of the staff? The plan for the escape, the basement, the failure of the attempt? The family itself escaping, on the boat?

8.The different families, the Jewish group, Julian and his family, parents, grandfather, the younger brothers and sisters? The man whose wife was Jewish, the old, the afraid, their life before the war? Refugees? Singled out by the reading of the list, segregated on the fourth floor, having to make do, getting out when the Germans did the forced march, going back into the room? The fear, the plan for the escape? Trying to contact Florence? The help of Signora Melloni? Taken in small groups, seeing them bound and put into the lake? The final shooting of Julian and his family?

9.The Aryans at the hotel, the husband’s grief for his Jewish wife? Signora Melloni, her help, the risks?

10.The Germans themselves, occupying the hotel, assembling the guests, reading out the list, segregating the Jews, relegating them to the fourth floor? Kressler and his manner, ideological Nazi? His attitude towards Mrs Bern? The approach, the attack? The men carousing – and the forced march to Stresa and back? The second in charge, callous? The announcements in German, the member of the staff translating – and his own anti-Semitism?

11.Kressler, the callous killings of the Jews? Finally seeing it on the lakeside? Mrs Bern, her trapping Kressler after his advances? Her decision not to shoot him?

12.Mrs Bern, seeming Nazi, the consul’s help, the border, getting the professor out of Italy to the border, at the border with the guards? The Resistance, Noa helping? The signal – and the failure of the escape of the Jews?

13.The boat, the Turkish family, their going to safety – but the jolt with the dead bodies in the water? Julian and his family running, their being shot?

14.Noa imagining all the dead people in the water, their appearance underwater? The pathos for the ending of the film?

15.The postscript, the courts in Germany – and the technicality whereby the guilty verdict was not upheld?

12

Russia, 2007, 153 minutes, Colour.
Nikita Mikhalkov, Sergei Makovetsky, Sergei Garmash.
Directed by Nikita Mikhalkov.

12 is a very powerful film directed by one of the greatest of contemporary Russian directors, Nikita Mikahlkov (Burnt by the Sun).

It is a remake and expansion of Paddy Chayefsky’s Twelve Angry Men (1957), directed by Sidney Lumet. (The film was remade in the late 90s by William Friedkin starring Jack Lemmon).

The original film, based on a television play, confined itself to the jury room with the 12 angry men. Henry Fonda played the juror who raised questions about the evidence received - 1 against 11. Lee J. Cobb stood out amongst other character actors as the virulent prejudiced juror.

Mikahlkov has kept this basic structure - and has often kept very close to the characters as well as some of the details of the evidence in this version. However, 50 years later, he has expanded the context considerably. This time the killing is allegedly done by a Chechnian youth, adopted by a Russian military man, who was murdered by the son according to witnesses. The film opens with scenes of death and disaster in Chechnya, continually goes back to the childhood of the boy, his growing up, relationship with his own father, mother and his being rescued by his Russian ‘Uncle’ and being taken to Moscow to live with him. The film also has some very graphic war scenes especially with tracer fire between buildings which nobody can escape. The film also emphasises the prisoner - and in the cold of his cell he starts to move, to dance (very much with the rhythms and styles of Billy Elliot).

Mikahlkov takes a key role himself as the second juror, the Henry Fonda character. This is a very powerful film about law, mercy, judicial procedures, the individual characters and prejudices and background of particular jurors and how this influences their immediate decisions. It also shows the detail of discussion, re-enactment, re-examination of evidence - and the clashes between the jurors themselves. It ends very positively with the president of the jury taking on a responsibility for the boy where all the other jurors found themselves too busy. In many ways this is a profound Russian film and has strong Russian issues, especially prejudice against Chechnya. However, it speaks to a universal audience.

1.The impact of this film? Worldwide audience? Russian audiences? After the Soviet collapse? In view of the Chechnya crisis? The aftermath of the crisis?

2.The basis in Twelve Angry Men? The use of the plot, the jurors, characters, interactions? An updated version of Twelve Angry Men?

3.The added context of Chechnya: the past, the young boy, his relationship with his mother and father, the credits and his riding the bike, urging his mother to speak Russian? His Russian uncle? The war, the laser-shooting, the horror, his parents killed? Rescued by the Russian? Taken to Moscow? Adopted? The recurring scenes of Chechnya and the warfare? The dead?

4.The drama of Chechnya and its effects on people, on the Russians, on attitudes, bigotry?

5.The room, the gym, its size, the table and chairs, the furnishings? The use, confined space, freedom of movement? The musical score?

6.The credits: the words of prosecutor and defence, issues of verdict? The judge, the comments, the jurors listening, filing out, the marshal taking them to the school, through the kids, the urgency to leave, the settling in?

7.The drama of the jurors, the initial vote, the one not guilty vote, the old man in the toilet and his voting not guilty, Jewish background? The president and the process, the looking at the witnesses, the documents, the boy not speaking Russian, anti-Caucasus and anti-Chechen prejudice, the old man and the taking so long to get to the window, the woman and her jealousy? The re-enactment in the house? The re-enactment of the stabbing? The variety of hypotheses – including the developers framing the boy? The change of attitudes? The role of the president and the end?

8.The interactions, initially jovial, hurrying to leave, presuming guilt, the emerging of the hostilities, tensions, one man being ill, the clown, the marshal and his coming in and out, providing data, her blackouts, the lights, the lamps?

9.The jurors themselves, ordinary men, equal as jurors, the various professionals, non-professionals, the build-up of the revelations, personal characters, back-stories, use and abuse of each other’s stances?

10.The president, quiet, efficient, clarifying the early votes, his presiding, the final vote?

11.The juror who wanted not guilty: his vote, his explanations of being fair, the immediate reactions, the hostile taxi driver, others listening? His listening, the story of his invention, patriotism, not selling it overseas, the failure, his drinking, losing his wife and child, being in the gutter, the kindly woman and her child, marrying them? His work for Japanese-Russian? relationships? Unable to finally help because of his involvement? His hypotheses, the reconstruction, his enthusiasm?

12.The surgeon, coming from the Caucasus, his being insulted by the taxi driver’s prejudice, re-enacting the stabbing from below, the knife dance and throwing the knife?

13.The comedian, his resentment at the taxi driver laughing, his tour, stand-up comedy, his pathos in the story of when he got a smile?

14.The Jewish man, his explanation of himself – and his response to the bigoted outburst?

15.The undertaker, his poems, being on the take about rain and the headstones?

16.The man who went to Harvard, the private television station, wanting to look at his mother, his being harassed by the taxi driver, even to being sick?

17.The construction worker, his awkwardness in speaking, his background story and bringing him back to the point? The man whose brother was killed by drugs and throwing the needle? The various attacks, detachment, biased attitudes?

18.The taxi driver, his long speech, bigoted, in a hurry, sure of himself, the huge anti-Semitic outburst, his prejudice against Chechnyans, therefore against the boy, people from the Caucasus? The challenge by the clown? The re-enactment of the stabbing? His revelation about his son, his son almost committing suicide? His change of heart?

19.The change, the president, the issue of whether the boy would be safer in jail or out? The jurors being too busy to help and represent the boy?

20.The final judgment, the president, not guilty? His looking after the boy, asking him to identify the perpetrators – and the freeze-frames indicating them as they left the court? Offering him a home? The background of his being an artist, a former Russian officer?

21.The initial and final quotes about truth – and especially about compassion?

EN LA CIUDAD DE SYLVIA

Spain/France, 2007, 84 minutes, Colour.
Xavier Lafitte, Pilar Lopez de Ayala.
Directed by Jose Luis Guerin.

In the City of Sylvie is what one might call an installation film - more appropriate to a museum with panels, which people can pass, by looking at its structure of day 1, day 2, day 3 there rather than in a cinema. However, fans of the film will note that it is pure cinema rather than dependent on any literary background.

The setting is three days in Strasbourg where a young man (opening with a three minute still focus on him) follows a young woman that he thinks is Sylvie. The film is a long stalking of Sylvie through the streets of Strasbourg until she discovers him and orders him away.

The film then shows his sitting and watching other people in the city. We are given practically no background to the young man so he remains something of an enigma - even a stalker. Sylvie, at least the girl he thinks is Sylvie, is very attractive, and makes a strong stand. However, that is all that the film offers, pure cinema, a glimpse of young people, infatuations, searching and yearnings.

1.The film as pure cinema? Not reliant on literature? The importance of visuals, framing, movement, colour, editing? An installation piece?

2.The structure of the film: the announcing of the three nights, the suggestion of the nights, the three days which followed? The musical score?

3.The Strasbourg settings, the city, the streets, apartments, shops? The transport?

4.The range of people observed, the people sitting in the restaurant, some having conversations, the silences, others simply observed? People in the street, the passers-by? The fixed camera and the people who came past, went in front? This technique repeated for the walk through the city? In the tram? In the club and the bar? The scene with the boy taking the woman home for the night?

5.The character of the young man: the first three minutes, steadily watching him in the single take, his blankness, thinking, writing, drawing? Getting dressed, going out, the map, finding the café, sitting and observing for such a long time, drawing? Watching the girl, the decision to follow her, the long sequences of his following, the various locations, the streets, his losing her? Finally finding her? His personality and the reason for stalking? His explanations, the error, his apologies? On the tram, her getting off? The further sitting in the café, watching people? Going to the bar? Picking up the girl, the night with her? The next day – the futility of his watching? His wanting to watch? Thumbing through his book of writing and sketches?

6.The young woman, at the restaurant? Her being followed, walking, discovering that she knew that she was being followed? Talking on the mobile phone, going into the shop? The confrontation at the bus stop, her criticising him, on the tram, wanting him to get off?

7.The range of people viewed, those speaking, those not speaking, the beggars in the street? The Africans and their trying to sell goods? The ordinary day in the life of Strasbourg?

THE SUN SHINES ON EVERYBODY EQUALLY

Iran, 2007, 90 minutes, Colour.
Merila Zarei, Laleh Eskandari.
Directed by Abbas Rafei.

This film is very interesting for Iranian audience as well as international audience – a picture of Christianity and Islam together. (This is also a feature of the film about children in the countryside, Robin).

This is a film about a Christian woman who has lost her faith because of her sense of responsibility for a death. She leaves her husband to find herself – having nightmares in the desert where she follows a mysterious black figure who eventually emerges as herself. She is contacted by a Muslim friend and asked to participate in a mission: to abduct her terminally ill husband from hospital. The husband has been wounded in the Iraq- Iran war in lungs and larynx. His wealthy father has not given the permission for an operation. The desperate wife, with the help of her friend who is a doctor, take the husband and drive towards a shrine.

The film shows the faith of the Muslim woman, confident that in prayer a miracle will happen for her husband. The Christian woman, Armenian Christian, is much more rational. However, a number of strange things happen during the journey – touches of magic realism, people appearing to her and guiding her in her journey.

Ultimately, they come to a Muslim shrine in the woods where the Christian woman has a profound religious experience, talking to a nun who is a symbol of God – all in a dream. The Muslim continues in prayer and the husband is healed. They then continue to a major Muslim shrine.

Iranians are very strong on belief in miracles. The film also shows the traditions of spirituality in the two faiths and how they can co-exist and collaborate. This film won a commendation from the interfaith jury at the Fajr festival, 2007 and the main award at the Religion Today Festival, 2007.

1.The meaning of the title? Religious issues, God and religion, equality, Christian and Muslim?

2.The opening in Isfahan, life in Isfahan, homes? The contrast with Teheran? The countryside, the desert? The woods and the mountains? The shrines? The end with the yellow-flowered fields? The musical score?

3.The tone of realism especially in Jeanette’s experiences? The crash on the road, the detour, the father and daughter by the wayside, the buying of the petrol, the mountain, the ease of getting to Isfahan, the dreams? The boy cleaning the car at the end, the importance of the black figure in the desert, Jeanette pursuing? The build-up to the final religious experience and her seeing the nun?

4.Jeanette and her crisis, responsibility for death, her role as a doctor? Her loss of faith? Her Christian background, Armenian Christian? Her husband and his bewilderment, her leaving him? His concern, the interview with her sister, the later phone calls? His puzzle? The reconciliation at the end? Her being lost in the desert in a dream, the message from her friend, Negar, and the symbols? The relationship between Muslim and Christian? Her being drawn to this mission, being called? Seeing the work as a mission? Her hesitation, taking the car, the issues as being a doctor? The dangers, her final going into the hospital, helping Negar take her husband from the hospital? The drive, the husband and the need for care, medicine and beyond, her pessimism about his health? Stopping for the meal, continuing to drive, their being stopped by the police but yet allowed to go on? Asking the way? Jeanette finally in the woods, the important dream, the conversation with the nun and the religious experience of God? The black figure and her pursuing it, her pursuing herself? Her friend understanding this? Negar’s comments about her dreams, her faith? The contrast with the openness to faith and God?

5.Negar and her story, the past friendship with Jeanette, losing contact? Having a sense that she should ask Jeanette to help her? Her husband, love for him? The husband’s father and his wealth, importance, not giving his son an operation? The decision to abduct her husband? Take him to a shrine? Appealing to Jeanette? In the hospital, talking to the doctor, her plausible explanations, filling in the forms, getting the permission? Managing to get her husband out? The drive, the flashbacks of their life together, the lyrical romance and depth of love between the two? Jeanette’s concern and the drive? Negar’s faith? Held up by the police, prayer? Arriving at the shrine, the boy expecting them? The healing?

6.The portrait of the husband, his illness in the war, the memories of the war experience, in hospital, the difficulties in breathing? His suffering and pain, getting him out, the difficulties in the car journey? The crises? His being passive? The end and his being well?

7.The background of the father, not helping his son? The doctor and his phone call to the father?

8.A film about religious experience? Muslim faith and expectation of miracles? Christian faith – in the symbolism and visuals of the nun, Jeanette’s conversation with her, her rediscovering God?

9.The shrine, the boy, cleaning the car, saying that they were expected?

10.The final journey to the major shrine, the beautiful field of yellow flowers – miracles and the future?

“FOOTSTEPS”

US, 2003, 90 minutes, Colour
Candice Bergen, Bryan Brown, Bug Hall, Michael Murphy.
Directed by John Badham.

“Footsteps” is an adaptation of a play by Ira Levin (Rosemary’s Baby, The Stepford Wives, Boys from Brazil, Death Trap). The film is in the vein of Death Trap – though a much more straightforward thriller, not always predictable but with the twists not always unexpected.

Candice Bergen portrays a popular crime novelist whose film is premiered in the local town, returning home she is terrorised by two men, one an obsessed fan, the other an assassin hired by her husband. The film builds up its momentum, especially with the final twists and confrontations. Bryan Brown (not changing his accent but given some Australian explanation for his presence in the US) is the assassin. Michael Murphy in the husband. Bug Hall (who is a lively young man and deserves a better name for the screen) is the fan.

The film is quite clearly based on a play. After the initial opening with the premiere and the Q&A after it, the film is confined to the novelist’s home and is generally a three-hander. It is directed by John Badham who had a film career in the 70s and 80s with such films as Saturday Night Fever and Dracula and then moved to action films including Bird on a Wire, The Hard Way, Drop Zone.

1.The work of Ira Levin? Death Trap and the crime thriller? The adaptation of a play for the television screen?

2.The Massachusetts settings, the mansion, the theatre, the house and its environment, the sea? The action of the film confined to one evening? Musical score? Editing and pace for thrills?

3.Audience expectations, popular crime thrillers, the author and the games being played, her reliance on techniques and action from her thrillers? The turning of the tables, the triumph of good over evil?

4.The opening, the premiere, the far-fetched action style, the applause of the audience, the questions and answers – and the menacing fan who blamed her for an imitation killing in real life? The irony of his reappearing in the mansion at the end – Daisy’s future?

5.Daisy, her age, the successful novels, seeing the titles? Her being on the balcony of her home, on stage, her nervousness, answers, her being upset at the obsessed man? Breathing, returning home?

6.Her relationship with her husband, the phone calls, his concern? The irony that he had hired the killer? The signals, the phone calls? His bringing a witness to her suicide – and the irony of Daisy using the phone, the battery, the judge hearing the whole scenario? The husband and his motivation, looking after her, urging her to write when she didn't want to, his financial gains because of her? His hiring the killer? The confrontation with Daisy, her pulling the trigger – and his confession and her indicating she had no bullet?

7.Daisy arriving home, the nervousness, the dog absent, the lights? The encounter with Spencer, his knowing all about her, his being a fan, his explanation of his life and work? His being a danger to her, her believing him? The arrival of the police, the confrontation with Spencer? His being tied up by the killer, cutting loose, entering the house, trying to save the day, not believing the stories? His turning out the lights, later turning them back on? His heroism – his admiration for Daisy, her final praise of him and his action at the end?

8.The killer, pretending to be a policeman, finding out the truth? Playing games with her novels? His having the upper hand, the gun, detecting the tablets in the whisky? Her escape, her going to the shed, the gun absent, her diving into the water? His getting her again? The confrontation, her tying him up? His explanation of the truth – and his telling the truth? His motivation (and coming from Australia to marry)? His motivation yet not wanting to necessarily hurt her?

9.The final explanations, the killer being an observer, the arrest of the husband, the action of the judge? The arrest of the killer? Daisy and her having strength to face the future?

10.Popular ingredients of the Wait Until Dark… kind of woman in peril thriller? The strength of the woman in peril?

HAMLET

US, 2000, 115 minutes, Colour.
Ethan Hawke, Kyle Mac Lachlan, Diane Venora, Julia Styles, Liev Schreiber, Bill Murray, Steve Zahn, Sam Shepherd.
Directed by Michael Almeyrada.

Another screen version of Shakespeare's most filmed play. However, this is a version for a modern and younger audience (like that of Baz Luhrmann's Romeo and Juliet). It is set in the Denmark Corporation building in New York City - and the text has been considerably pruned. It is a clever film - perhaps too clever for an audience which is noting how the modern equivalents of Shakespeare's times are being rendered: Hamlet is a depressed film-maker and much action (including the Ghost) is caught on his camera; the play within the play is a video movie; 'to be or not to be' is spoken on a walk through Blockbuster video store. And there is plenty more. Clearly, purists should beware. Others will be fascinated and/or alarmed at how the text is adapted.

The performances are particularly American, less roundly articulated than with an English cast. Ethan Hawke has been condemned by some reviewers for his seemingly listless, inarticulate rendition. However, I found that this pruned version cut to some of the key elements in the play. Many of us have seen it too often and we tend to forget that Hamlet himself has not seen it. It is all developing for him. Audiences tend to judge him as too slow, too hesitant. But this version shows him puzzling, trying to verify the truth and find a strategy for action. The cast is interesting and offbeat, Bill Murray as Polonius, Kyle Mac Lachlan is Claudius and Diane Venora is Gertrude and Sam Shepard is the Ghost. Julia Styles is a believable Ophelia. Worth a look for those who are interested in updating Shakespeare.

1.The status of Shakespeare’s play? The tradition of film versions? Audience expectations?

2.How successfully updated? To the year 2000? To the United States, New York? The idea of updating Shakespeare? Modern dress? Modern situations and modern technology? American accents and the recitation of the verse? The essence of the play?

3.The use of the text, pruning the text? The tone, the internal monologues? The use of video, the video play? The musical score? The background sounds, the use of media, television programs…?

4.The American cast, types and against type? The effect of these performers doing Shakespeare?

5.The New York setting, the Denmark Corporation? The Hotel Elsinore? The security guards, the business world, business advisers? The world of business takeovers? Students, media students, video? The use of The Mousetrap as a video collage play? Ophelia’s using cards to identify the flowers and herbs? Weapons, the shooting of Polonius, poison, the fencing match between Laertes and Hamlet? The television ending with the news being given, commentary?

6.Ethan Hawk as Hamlet, age, look, a student, the media, videoing himself, his listening to his own words and reflections on the video screen? His love for Ophelia, the offhand manner with her, spurning of her? the emotional violence towards her? His attitude towards Polonius, Laertes and the past friendship? His dependence on Horatio and his girlfriend? Confiding in them? The situation of his father’s death, his mother’s remarriage, his morose reaction? His being the victim of melancholy? His action and inaction – and the irony of the ‘To be or not to be’ soliloquy done in the video store, in the action section? The information about the ghost from Horatio, his finding the ghost, talking with the ghost, the sense of mission, the effect of learning about his father? His attitude towards Claudius and not wanting him to call him ‘Son’? His harsh judgments on his mother? His severity towards Ophelia, the ‘Get thee to a nunnery’ speech? His killing Polonius? The confrontation with his mother, the violent reaction, the ghost being present? The play, getting Horatio to watch, his needing proof that the ghost was telling the truth? The visual collage of The Mousetrap? Rosencrantz and Guildenstern, the casual friendship, discussions with them, the travel, on the plane to England? His arranging their deaths? The phone calls? His arrival back, Ophelia’s funeral? The build-up to the confrontation, his agreement to the duel with Laertes, the fight, the wounding, his mother drinking the poison, his American violent shooting of Claudius? The exploration of the character of Hamlet, the realism of the treatment rather than a deep psychological exploration? His hesitation, wanting proof, the recitation of the verse, the soliloquies?

7.Claudius, smart businessman, smooth style, the celebration of the marriage with Gertrude, his love for Gertrude? With Hamlet and his suspicions? Using Rosencrantz and Guildenstern and getting their information? His reaction to the play, his wanting vengeance on Hamlet? Setting up the duel, the poison, his being shot – like an American gangster?

8.The portrait of Gertrude, how much had she connived with Claudius in her husband’s death? The hasty marriage? Her being present with Claudius at board meetings, socially? The confrontation with Hamlet, the death of Polonius, Hamlet making her look into herself, her not seeing the ghost? The finale – and whether she knew the poison was in the wine or not?

9.The ghost, presenting the ghost in realistic situation in the hotel? His speech, explanation of his doom, the purgatory experience, urging Hamlet to action? His presence in Gertrude’s room at the confrontation with Hamlet?

10.Polonius, the adviser, his pompous talk, his speeches, his advice to Ophelia, to Laertes – and his death?

11.The character of Ophelia, her age, experience, in love with Hamlet? Her being disturbed? Wearing the microphone and Hamlet’s anger with her? His spurning of her, her madness, her death in the hotel pool? Her funeral?

12.Laertes, hot-headed, the student, his return? The news of his family’s death, the build-up to the fight, his anger with Hamlet, the discovery of the truth?

13.The restoration of order in the Denmark Corporation, the television announcer and the contemporary communication about world affairs, business affairs?

14.The play, its characters, power, themes of betrayal, sexuality, the revenge play from the 17th century in the 21st century?