THE NINTH DAY

Luxembourg/Germany, 2004, 90 minutes, Colour.
Directed by Volker Schlondorff.

The Ninth Day concerns OCIC (the former Organisation Catholique du Cinema Internationale) and SIGNIS (the present World Catholic Association for Communication).

It is based on a short memoir written by Fr Jean Bernard at the end of World War II, after his release from Dachau. At the outbreak of war, the OCIC Secretariat in Brussels was occupied by the Germans. Jean Bernard was the secretary general. Abbe Brohee, the president, remained during the war years as chaplain to a convent outside the city. He died in 1946. Jean Bernard had returned to his native Luxembourg. However, he was arrested at the French border and sent to Dachau. OCIC was targeted by the Germans as it had not spoken out in favour of the occupying forces and Jean Bernard had written articles which were interpreted as critical of the regime.

After the war, Jean Bernard went to Switzerland to recuperate but was back in Brussels by 1946 preparing for a congress. He became president of OCIC in 1947 and remained in that position until 1972. During his presidency, OCIC began its jury work at world film festivals, in Venice in 1948, Cannes in 1952, Berlin in 1954. During the 1950s, juries were established in Spain and in Latin America. There was also an annual Grand Prix. Winners of this award included La Strada (1954), On the Waterfront (1955), The Prisoner (1956).

Jean Bernard contributed to church thinking on media at the Second Vatican Council (1962-1965) and in subsequent years. He also steered OCIC through difficult times when there was strong questioning of its decisions, a prize to Pasolini’s Teorema in Venice, 1969, and to John Schlesinger’s Midnight Cowboy in Berlin, 1970. After his retirement he returned to Luxembourg and worked for Catholic media. He also hosted several OCIC meetings there. He died in 1994.

Jean Bernard never revealed the reason for the nine day leave he was given from Dachau in January 1942. The screenplay for the film, The Ninth Day, speculates and creates a plausible fiction. In the film, Bernard is called Henri Kremer (played by Ulrich Matthes). He comes from a respectable family, his brother an industrialist working for the regime. Kremer has been told by a young SS officer (August Diehl) to visit the Archbishop (who has retreated to his home, refusing to collaborate) and persuade him to support the occupying administration and save the Catholic Church, promising that in the post-war Reich the Church would play a significant role. The varying opinions about the role of Pius XII are discussed. If Kremer does not return by the ninth day, the priests in Dachau will be executed.

Distinguished German director, Volker Schlondorff, has made an intelligent drama that raises the principal issues of the war in Europe: Aryan supremacy, the extermination of the Jews, occupying forces and government, collaboration and resistance, torture and executions, the role of religion and the Catholic Church. The young SS officer (who is revealed to have been a seminarian and ordained deacon but who opted for the Reich to better the world) argues that Jesus went beyond Judaism and that this was the vision of Judas, that his ‘betrayal’ of Jesus and his own past was a heroic action. Kremer returns to Dachau.

Audiences have seen concentration camp films for many decades. Schlondorff, however, brings a forcefully grim style to his sequences, including the crucifixion and crowning with barbs of a Polish priest. He also highlights the moral integrity of the prisoners, especially Kremer’s acknowledging to himself on his return that he is in the place where he should be, where God wanted him to be.

1.Impact of the story, the character of the priest? Luxembourg and Germany, Europe and World War Two? The impact of the film for Europeans, citizens of Luxembourg, for Germans? Going beyond Europe for a worldwide audience?

2.The film based on an actual event, characters, the invention of the story about the Nazis wanting the Archbishop of Luxembourg to collaborate? The role of the priest in trying to persuade them?

3.The film sixty years after the events, the memories of the war, the concentration camps, the Jews, Catholics, clergy, the churches? A message for the 21st century?

4.The re-creation of Dachau, outside, inside, the huts, the workplaces, the quarries, hard labour? The contrast with Luxembourg, its streets, homes, Cathedral, church, official buildings? The winter season and its bleakness?

5.The winter tones of the film, colours? The atmospheric score and its instruments, variety?

6.The structure of the film: Dachau and the credits, the glimpses of the treatment of the prisoners, discovering they were priests, the Nazi officers and their brutality, verbal and physical? The Polish priest, not singing the German song, his being crucified? His being left exposed? The specific days, going to Luxembourg and the nine days passing, the flashbacks, the dreams, the cumulative effect? Henri’s mission, the question whether he would return or not? The return and his feeling at home in the camp?

7.The priests, from Luxembourg, from Poland, the meagre Eucharist celebration, having to hide, living their religion and prayer, the crucifixion of the priest, the stances the priests took, the threats of death and torture?

8.Kremer, his appearance, exceedingly gaunt, the experience in Dachau, watching the crucifixion, his being taken out and thinking he would be crucified? The back-story of his studies, writings? Arrest? Thesis and intellectual discussion? The anti-Nazi stances? His support of the Jews, the discussion with the SS officer about Semitism and anti-Semitism, Jesus as a Jew, the argument about Judas, betrayal as the only way forward, Jesus to overcome his Jewish background? Kremer in Luxembourg, his family, his brother and working in industry, supporting the Germans? Offering him the car, the possibility of escape? The family fears with Henri’s return? The effect of Dachau on him, his perspective on life, suffering? His meeting with the vicar-general, asking for the appointment with the archbishop? The SS man, the explanation of the mission? His return to his family, his sister and her care, the brother-in-law and his fear? The older brother taking him in the car – and Henri stopping and returning? Encountering the SS and the physical abuse of his sister? The meeting with the archbishop, the discussions, the archbishop giving him the letter, his giving it to the SS officer? His return? Feeling at home in the camp with the priests?

9.The archbishop and his silence, policy, refusing to collaborate, staying in his house? The discussion with Kremer? The envelope with the blank page? The vicar-general, smooth, eager to collaborate? The consequences for the archbishop, for Luxembourg?

10.The issues of Pius X and the war, his friendship with Hitler, the greetings for Hitler’s birthday? The Vatican concordat with Germany? His silence? The arguments given for his silence, the Dutch bishops’ experience, the executions, the consequences of their speaking out? The pope’s priorities about the church? His attitude towards the Jews? The conduct of Pius XII and its being suggested as a pattern for the Archbishop of Luxembourg?

11.Luxembourg and Germany, Luxembourg being occupied, the administration, suffering, collaboration?

12.The Nazi officials, their cruelty in Dachau, the senior officers in Luxembourg, the threats to the junior staff, the staff in the offices?

13.The SS officer, his age, experience, having been in the east, the mission to persuade Kremer to see the archbishop? Tactics, smooth argument, threats, the revelation of his Catholic background, his diaconate, his leaving before ordination, thinking he would do better change the world as an SS officer, Aryan supremacy? His Judas argument? His genuflecting in the church, talking with the vicar-general? Ultimately frustrated? The threat of his being returned to the east? The archbishop’s blank page?

14.The portrait of the Kremer family, Henri’s sister, the dead mother, his not being at the funeral, she being Henri’s conscience, the flowers at the grave, his continual visits to her? Her principles, the appeal of the SS? The violent slap for his sister, her arrest? The effect of Henri’s return? The brother-in-law and his fear? The brother, the elegant meal with the SS officer, the eggs, the deferential waiter? The sense of menace?

15.A retrospect on wars in the 20th century, German arrogance, the Aryan issues, the persecution of the Jews? Using religion and propaganda? Promises for the place of the Catholic church in the Third Reich? Luxembourg and its stances? Presentation of a hero of Luxembourg in Henri Kremer?

16.The image of the priest in the 20th century, the collapse of the image and of its pedestal at the end of the century, the beginning of the 21st century? The theme of the priest as another Christ, suffering, even to death? The fact that Henri Kramer survived, the consequences of his experience in Dachau?

THE FORGOTTEN

US, 2004, 91 minutes, Colour.
Julianne Moore, Dominic West, Gary Sinese, Alfre Woodard, Linus Roache, Robert Wisdom, Anthony Edwards.
Directed by Joseph Ruben.

Anyone seeing Julianne Moore’s name as the star of this film might be expecting a strong drama about relationships. Actually, it is that, but it is more of a thriller, a chase thriller, with mysterious otherworldly elements that are usually the realm of science fiction and fantasy. Julianne Moore brings it dramatic intensity and class. An interesting supporting cast included Dominic West as a bereaved father, Anthony Edwards as her husband, Gary Sinise as her psychiatrist, Linus Roache as a mysterious stranger and Alfre Woodard as a police investigator.

These ingredients are in the hands of director Joseph Ruben who, for twenty years, has produced a series of smaller, intense thrillers including Dreamscape, The Stepfather, Sleeping With the Enemy, The Good Son. What is interesting about this film is that most of it seems like a terrestrial abduction case with authorities denying the crime and husband and psychiatrist diagnosing a psychotic creation of a child by a distraught mother. The extraterrestrial elements and effects are kept to a minimum – that makes it all that just bit more plausible. Julianne Moore is quite convincing as a mother mourning her child killed in a plane crash and who can’t let go of him.

For those who like to jump out of their seats now and again, this film made me jump four times, especially an unexpected crash (excellent pieces of editing).

As with many of Joseph Ruben’s film, it is of modest ambition and budget, but very successful in its genre.

1.Domestic drama, conspiracy theories – to science fiction and X- Files style mystery? Successfully blending genres?

2.Contemporary New York, ordinary lifestyles, New York City, homes, the factories, the airports? A credible location for this kind of story? Musical score and atmosphere?

3.The title, the children, the adults and their forgetting, society and its forgetting?

4.Telly and Julianne Moore’s screen presence? Developing her character? Her relationship with her husband, the domestic scenes? The focus on her memories, the flashbacks and her son, watching the videos, the photos? Her going to the psychiatrist, talking with him, his diagnosis, treatment?

5.Her way of life, trying to let go, the continued memories of the airport, Sam and his leaving? Her anger about the photos disappearing? The psychological effect? Her husband and his denial of the photos? The psychiatrist and his contribution? Her meeting Ash, his not having any memories, talking, her running away after meeting her husband and his not knowing her? The police? Ash taking her in, the discussions, his discovering the wallpaper in his daughter’s room? The story of his daughter going on the plane? Running away with Telly, his remembering? Driving – and the shock of the crash?

6.The film’s editing and the shocks, audiences jumping, the crash, the humans being swooped out of Earth and into the air?

7.The growing mystery, Telly and her husband, his being a stranger? Her detective work, going to the library, finding out about the flight? Remembering, the memory of the airline, the airport?

8.The importance of the flashbacks, the character of Sam, his leaving, the memory as a motif?

9.The police, the agents and their mystery? Anne and her listening, wanting to help, the collaboration with Jack, going to the house – and her disappearing?

10.The hangar, the confrontation with the owner? The stranger, his being present at the accident? His being indestructible? His being the owner, the truth?

11.The psychiatrist, his listening, his knowing the stranger, understanding what was going on?

12.The irony that the experiment was with Telly, her ability to forget her children, the aliens studying this? The children not being the mystery? Her experience, winning out against the aliens, getting her child back, her life? Meeting Ash again – and his not remembering?

13.A satisfying blend of X- Files in ordinary life?

DEVIL’S CANYON

US, 1953, 92 minutes, Colour.
Virginia Mayo, Dale Robertson, Stephen Mc Nally, Arthur Hunnicutt, Robert Keith, Jay C. Flippen.
Directed by Alfred Werker.

Devil’s Canyon is a routine western of the early 50s. It is a prison western, the focus on the central character, played by the rather wooden Dale Robertson, who is a former marshal who has been acting as a gunfighter after the governor of Arizona has banned gunfighters. Also in prison is his arch nemesis, played with relish by Stephen Mc Nally. Also in the prison, eventually, is the only woman prisoner, an outlaw played by Virginia Mayo. She is torn between planning an escape with the villain and her attraction towards the hero. Robert Keith is the warden and Jay C. Flippen is the warder.

The film shows the interactions in the prison as in so many present films. There is the attempted break-out which is thwarted. The film is interesting as an example of popular western entertainment of the period.

1.Quality western? Routine western? Entertainment?

2.The locations, Arizona in the 1890s? The town, the open plains, the prison? Musical score?

3.The title, the focus on the prison, hard labour? The overtones of the Devil?

4.Billy Reynolds, the lawman, straight up and down, somewhat stolid? His being warned by Abby about the brothers trying to kill him? The shoot-out? His being arrested according to the law, tried, sent to the prison? The reaction of the warden who knew him? Captain Wells whom he had formerly punched? With Jesse in the prison, the antagonism? His work, cellmates – with the touch of comedy? The meeting with Abby, in the infirmary? The attack by Jesse? The plans for the escape? His being put in solitary? His getting the gatling gun, stopping the escape? Abby and her change of heart? Being pardoned? A future?

5.Abby, warning Billy, her relationship with Jesse, the bank robberies, her arrest, the plan for the escape, the guns coming in with the medication? The discussions with Jesse, his dominance? The meetings with Billy, her attraction towards him? The role of the doctor? The warning of the warden? The start of the escape, Jesse’s brutality, her change of heart, letting Billy out, the culmination?

6.Jesse, the outlaw, in prison, dominating his fellow prisoners, the plan with the escape, the knife attack on Billy? With Abby? The escape, his wanting to control the prisoners? His death?

7.The authorities, the warden and his sincerity, Wells and his brutality, antagonism towards Billy? The official who was bribed by Abby, bringing Jesse to the doctor’s?

8.The comic touch with Frank, with Virgil, the stories, the discussions about food, the escape?

9.A routine prison film – with a western setting?

DAKOTA INCIDENT

US, 1956, 88 minutes, Colour.
Linda Darnell, Dale Robertson, John Lund, Ward Bond, Regis Toomey.
Directed by Lewis R. Foster.

Dakota Incident now has a good reputation as a small western. It is in the vein of westerns focusing on the interaction between whites and Indians – especially after such films as Broken Arrow in 1950 with the pointing out of Indian rights and respect as well as the betrayals and breaking of treaties by whites?

The film focuses on life in a western town, on an outlaw, on a bank teller being framed for robbery, on a saloon singer. They find themselves eventually in a stagecoach and besieged by Indians, having to cope with the thirst, the isolation, their own attitudes towards the Indians.

Dale Robertson is a rather wooden hero, an outlaw who finally makes good. Linda Darnell is a strong screen presence as the singer who hates the Indians. John Lund is the bank teller. Ward Bond has a stronger role than usual as a senator who is able to give speech about relationships with the Indians and reconciliation and who was prepared to die in his beliefs. The dialogue contains quite a strong amount of antagonistic lines towards the Indians – but, in fact, there is a reconciliation at the end and a message that talk and friendship bring about peace.

The film was produced by Republic Studios in the mid-50s, always ‘poor neighbour’ of the main studios.

1.The reputation of the film? Improving over the decades? Style? Themes?

2.The colour picture of the west, the town, the open areas, the siege? The musical score?

3.Familiar ingredients of the western? The bank robbers, betrayals, shooting? The town? The dance hall in the saloon? The stagecoach, the attack on the Indians? The Indian siege? Antagonism, betrayals, friendships? How well worked together?

4.The title, the territory, the focus on the episode and its significance in terms of white/Indian relationships?

5.Banner, the robbery, his being shot, his brother? Surviving, coming into the town? The confrontation with his brother and his leaving town? The shoot-out with Largo? The encounter with Hamilton, the truth about Hamilton, his wanting Banner to give back the money and clear his name? The attraction towards Amy? The stagecoach, their going together, the attack, his trying to keep the horses? His taking charge? Water and his trying to get it? The discussions, the passing of time, the deaths of the various individuals? The final confrontation, the friendship with the Indian chief, the reconciliation and their being allowed to go free?

6.Amy, stranded in the town, her glamour and style, Minstrel and his support, Giselle as her maid? Watching the confrontation between Banner and Largo? The friendship with Hamilton? Her needing to get out of town, to recover her money, her bribing the station clerk with the garter? The travel, the crash, the Indians, in the siege, her anger, her concern about Hamilton? Her attack on the senator, his advances, her shaming him and her going out to die, her blaming herself? The finale and her realisation of her need for friendship with the Indians?

7.Hamilton, the gentleman in the town, interest in Banner, the explanation of his predicament? His going on the coach, helping, his being wounded, dying?

8.The senator, his speeches, the liberal ideas of reconciliation with the Indians? The people spurning him? On the coach, making advances towards Amy? His being shamed, having to be as good as his word - his approach to the Indians and his death?

9.Minstrel, with Amy, on the coach, the mirage and his seeing the water, his death?

10.The other passengers, their deaths?

11.The Indians, the ambush, the siege? The sparing of the life of the Indian? His coming back and freeing Amy and John? Friendship with the Indians?

12.The background of the western town, the saloons, the stagecoaches, the gunfighters?

ALEXANDER

US, 2004, 173 minutes, Colour.
Colin Farrell, Anthony Hopkins, Angelina Jolie, Val Kilmer, Rosario Dawson, Jared Leto, Brian Blessed, Jonathan Rhys Myers.
Directed by Oliver Stone.

In the wake of Gladiator and Troy comes this spectacular epic of the Macedonian world conqueror who has long been called The Great. Box office and critics have been initially unkind to the film. It is not an easy watch. For the uninitiated and the uninterested in Ancient History, it is a hard slog indeed.

That having been said, there is a great deal to admire about the film as well as to criticise.

All things considered, Alexander gives not only a portrait of the man and his exploits but gives a reasonable overview of the history and ethos of the period. (although when you think the film must be nearing Alexander's death, there is a caption, 8 years earlier, and a long and significant flashback is inserted which would have been better appreciated if it had been included much earlier in its proper chronological place).

The framework of the film is Ptolemy (one of Alexander's generals and his successor in Egypt) dictating his memoirs forty years later. This voiceover carries a lot of the narrative as well as giving explanations of who is who (which may still not be all that clear for audiences unfamiliar with the history). The voiceover also involves quite a bit of mythmaking as well, interpreting Alexander as great and eulogising him. This older Ptolemy is played by an erudite and articulate Anthony Hopkins.

Audiences will be wondering what Colin Farrell is like as Alexander. He is a touch 'diminutive' for a legend of such stature. Nevertheless he has a screen presence and quite skilfully portrays Alexander from 19 to 32, convincingly young, morose, immature but with potential, through the triumphs, especially the battle of Gaugamala, the expeditions beyond Babylon and his ageing and the toll this takes on him. He changes from ambitious boy to successful conqueror of the world (at 25) to a tragic figure whose flaws (his need for his father's approval and his tendency to forget his more democratic hopes for a united world and lapsing into despotic exercises of power and violence) mean that he does not provide for his succession and leaves a divided empire with squabbling generals.

Angelina Jolie suggests a Lady Macbeth figure as she plots, dotes on her son, despises her husband – and she carries this off very well. Val Kilmer (one eye gone and a boisterous lecher, moody with his son) is Philip of Macedon.

Jared Leto is too laid back as Hephaestion, the boyhood friend whom Alexander loves and trusts. Rosario Dawson has to be tempestuous as Roxanne.

The battle sequences, one in the desert with a (CGI) cast of thousands, the other with elephants in the jungles of India are impressively shot and edited with a score by Vangelis.

Since the film was co-written and directed by Oliver Stone, it is not a reticent production. Stone has long been interested in war and in the exercise of power (Platoon, JFK, Nixon). He gives his film an aura of Shakespearean tragedy, the fall of a great man because of his hubris and flaws. This means that Alexander is very ambitious, is crammed with incident and themes, which make it an unwieldy but thoughtful epic.

1.The response to the film, audiences, scholars, critics?

2.The importance of the locations for Macedonia, Persia? Europe, Asia? The Middle East, India? Mountains and jungles? Morocco and Thailand standing in? The re-creation of the period, authentic, the landscapes, the cities, buildings, the travel through the different territories, the re-creation of Babylon? The musical score and its rousing feel?

3.The staging of the battles, the strategies explained, the visuals corresponding to the strategies? The lower key, building up, the violence? The battle in Persia? The battle in India, the horses and the elephants? The image of the rampant horse and elephant? The aftermath of the battles, the wounded and dying?

4.Audience knowledge of Alexander the Great, Greek history, Persian history? Alexander as a character, his impact? The legend? The standards for greatness at that time? Now?

5.Greek mythology, Alexander and his being influenced, trying to measure up to the legendary heroes? Achilles as hero, Patroclus, their friendship, death? Heracles and his feats, labours, his suffering and death? His being a son of Zeus? The frescoes and paintings, the statues of the mythology, his talk with his father, discussions with Hephaestion, his interpretation of his life and the myths?

6.The voice-over, Ptolemy, Anthony Hopkins’ vocal style? Forty years after the events? In the library of Alexandria, dictating the memoirs, the explanations, the maps, the indications of character, the narrative thrust? His own editing of Alexander’s life and exploits? Creating his own mythology? His memories and interpretation, his down-playing the mythology? The final eulogy? Standards of greatness?

7.The structure of the film: the glimpse of Alexander’s death, his boyhood and relationship to his mother, to his father, the harsh training, the meeting with Bucephalus, the friendship with Hephaestion, the lectures from Aristotle, wrestling and training, wanting to please his father, growing up, morose, the domination of his mother, the question of the inheritance, the exile? The transition to Persia, the great battle, entering Babylon, the expeditions? His mother’s letters? The revolt of his soldiers? The importance of the flashback to eight years earlier - appropriate at this time of the drama? The end, his death and the lack of succession? The squabbling of the generals? The final words of Ptolemy?

8.Alexander’s place in Macedon, as a kingdom, his relationship with his father, the father nominating heirs? Philip‘s achievement and ambition, especially for Asia, its influence on Alexander, his father’s death and its effect on him? His being surrounded very advisers, flatterers? The aim for empire?

9.The film seen as a tragedy, Alexander’s tragic flaw, his success, his hubris, advice, ultimate failure?

10.An exploration of power and authority, the focus on the outstanding individual leader, the great man theory? The people seen more as a herd, needing freedom from their slavery? The concept of leadership – and the possibility of despotism?

11.The military perspective of the film, military might, power, strategic skills, weaponry, resources – and the vast number of people who journeyed with Alexander, the retinues, the supplies, doctors, families…? Military ambition, always more worlds to conquer? Cruelty? Soldiers being expendable?

12.Alexander’s dream for a united world, his ruling the world, the possibility of control, yet seeing people as equal, against the prejudices of the Macedonian and their purity of race, freedom of slaves, giving opportunities for work, for education? His wanting the Asian descendants to have good education like the Macedonians?

13.Alexander and his character as a boy, closeness to his mother, the scenes with the snakes, her talk to him, her continued challenge, putting ideas into his head? His wanting his father’s love? His father considering him weak? His friends, the wrestling lessons, the lessons with Aristotle, his taming Bucephalus to the acclaim of those watching? His wanting his father’s approval, his father explaining the frescoes and the mythology to him?

14.Colin Farrell as Alexander, his screen presence, Alexander at twenty, soft, his height, presence, clothes, hair? His strength of character, decision-making? Seeing his potential? The pressures of his mother, of his father? The mythologies? His pride, clashing with his father, his father taking the second wife, the alternate heir? His confronting his father, the exile and its effect on him? The relationship with Hephaestion, the later information in the flashback about the reconciliation with his father, the assassination, his being present, his clash with his mother and his denunciation of her? Never seeing her again? The letters and her warnings? Going into Persia, the great battle, the explanation of the strategies, his domination of his generals? His leading by example, courage? Darius and his troops, the numbers, Darius standing in the midst of the troops, his finally escaping, the pursuit – and the general’s advice for Alexander not to pursue? To consolidate his victory? His comfort of the dying? His killing the man suffering?

15.Alexander’s entry into Babylon, the cheering crowds, the affluence, the gardens? Going into the harem, the princess and her plea for her family’s life, Alexander treating her with mercy? His troops, wealth, their life in the east, the concubines, the families? Their devotion to Alexander because of his achievement? Personal loyalties?

16.The expeditions, the travels, the different tribes, Alexander always winning his battles? Sometimes cruel and massacring peoples? The continued hardships of the journey, the letters, the political difficulties, conspiracies? His decision to marry, the attraction towards Roxanne, the advice against marrying her and urging a Macedonian, to have an heir of pure race? The marriage ceremony? Hephaestion, his giving Alexander the ring, Roxanne’s reaction, his chasing her, their sexual encounter, their not having children? Her continued journey, her own ambitions?

17.The plan to return by the sea, the Nile? The continued mountains of Asia, the hardships of the jungles, temperatures, rain? The continued rebellions – the men wanting to go home, the rebellion of the young leaders, their being killed? The jungle, Alexander urging them to go further, the battle with the tribes, the elephants? His being wounded, finally deciding to go home?

18.The screenplay and its range of speeches – with the touch of bombast and rhetoric? As elaborating his vision, denunciation of traitors? Philip’s speeches, Olympias’s speeches? Alexander when Hephaestion was dying?

19.Alexander, in his thirties, the decision to return home, the illness and fever? The issues of his heirs? His life in Babylon, the children? His own illness, people surrounding him, his death, trying to get him to name the heir, failure? The divided forces, the divided empire? The consequences – a tragic failure?

20.The character of Philip, warrior, boisterous, lecherous, drunken? Powerful, ambitions? The growing antagonism with Olympias? His changing attitudes towards Alexander, his pride in him, his new wife and son? The assassination?

21.Olympias and her background, the symbolism of the snakes, her doting on her son, contempt for her husband, her continued planning, putting ideas into her son’s head? The new wife, defying Philip? Her participation in his death? The final talks with Alexander – and her not seeing him again? Her outliving him?

22.Hephaestion, boyhood friends, their love for each other, the sequence with Aristotle explaining love, relationships, sexuality? The more modern theories of homosexuality and bisexuality and their not being part of the Greek world? Sexuality of body, of spirit, of soul? The bonds? Trust? The relationship between Hephaestion and Alexander throughout their lives? His grief at Hephaestion’s death?

23.The gallery of officers, the older men, trust, plotting against Alexander? The officer with his long speech, reviewing all that had happened in the expeditions, Alexander killing him? The young officers, companions, advice?

24.The plotters in Macedonia, the alliance with the Greeks, the new wife for Philip, the heir?

25.Roxanne, her background, the arranged marriage, her love for Alexander, ambitious, the suspicions of Hephaestion? Her continuing the travels? Her advice?

26.Themes of power, popular power, despotic power, oppression? Alexander’s achievement? Military, civil, cultural – but always with the potential for destruction?

27.PS: The technique to colour the screen red when Alexander was wounded, his perspective on the battle, the surrounding countryside – how effective? A gimmick?

THE PHANTOM OF THE OPERA

US, 2004, 142 minutes, Colour.
Gerard Butler, Emmy Rossum, Patrick Wilson, Miranda Richardson, Simon Callow, Ciaran Hines, Minnie Driver, James Fleet.
Directed by Joel Schumacher.

The Phantom premiered in the London West End in its Lloyd Webber incarnation in October 1986. 80,000,000 tickets sold worldwide these past 18 years and still playing, the author-composer has decided it is the right time for the screen version.

While many reviewers are unshakably convinced that 80,000,000 people are not only wrong but disgracefully wrong and incapable of recognising trash and derivative music. If, at this stage of this review, you find yourself agreeing with the reviewers, don’t read on. This lavish and loud version is not for you.

If, on the other hand, your find your indignation rising against these alleged arbiters of taste, the film is definitely for you.

At a minimum, it is an opportunity for those who have not been able to afford theatre tickets or who have not been near a theatre where The Phantom was playing to see and hear what the enthusiasm was all about. Again, it provides a very colourful and tuneful memento for those who loved their theatrical experience.

One reviewer who bristles at the mention of Andrew Lloyd Webber’s name, concedes that the film’s plot is still strong enough without the music and that the look of the film is outstanding. It certainly is a ‘visual-feast’ production. The press notes use the word ‘sumptuous’. We can add ‘lush’ and ‘lavish’. The 1870s Paris settings mean that the visual style is a kind of baroque-gothic-gallic, pre-raphaelite- rococo. Something striking for everyone.

A new framework has been introduced: an auction of Opera House mementos in 1919, filmed in black and white – with a return to 1919 at different stages of the film.

We spend a lot of time in the Opera House, its glittering auditorium (and the chandelier), the vast backstage area, the opulent foyer (for the beautifully-staged Masquerade) and the vast caverns, staircases, channels and rooms that constitute the world of the Phantom. The film opens out the play and includes a carriage ride, a chase by horse, visits to the cemetery, even a sword fight.

Several of the characters have been given back stories (including flashbacks to the Phantom’s childhood). Raoul’s presence has been increased. In fact, the plot of the film (which Lloyd Webber has co-written with director Schumacher) is more coherent than the play.

As regards the songs and music, we either like them or not. They are all here with full orchestra and reprises.

As regards the performances, Emmy Rossum is a charming Christine. However, Gerard Butler may disappoint many audiences as the Phantom. He is not a dominating screen presence (Patrick Wilson as Raoul comes across more forcibly) which lessens the drama. Again, one of the difficulties of seeing him close-up is that the final revelation of his disfigurement is not particularly startling or frightening.

On the other hand, the supporting cast, mainly British, give the film some substance: Miranda Richardson as the ballet mistress who knows the secret of the Phantom, Simon Callow and Ciaran Hinds as the bourgeois owners of the Opera House and Minnie Driver well over the top (director Schumacher advised her that no one pays to see ‘under the top’!) as the haughty diva, Carlotta.

Most fans should enjoy it.

1.The popularity of the play? Tickets sold worldwide? An opportunity for people to remember – and an opportunity for those who have not seen the play?

2.The play opened out, the externals, the back-stories, the flashbacks, behind the scenes at the opera house?

3.The lavish and sumptuous visual style, the references to the late 19th century art, paintings and sculptures? The atmosphere of the 1870s? The period of Pre-Raphaelite? art in England? The Gothic horror overtones? Baroque? The world of opera and heightened drama? The theatre, below the theatre, the exteriors? The lavish costumes and style, for the operas, for Masquerade, for the audiences? Décor and make-up?

4.The special effects, the black and white photography and the transition to colour? The effects for the world of the Phantom under the theatre? The backstage? The fall of the chandelier?

5.The over-the-top style, larger than life, loud and resonant? 19th century? The connection with the audience in terms of plot, characters, themes, music, tunes, songs? Horror and romance?

6.Andrew Lloyd Weber’s score, the popularity of the music, the criticisms that it was derivative? The excerpts from the operas? The melodies of the principal songs? The lyrics? Their place in the drama? The theme for the Phantom of the Opera, ‘The Music of the Night’, for Christine’s father, ‘All I Ask of You’, ‘Point of No Return’, ‘Masquerade’ – the reprises? The song over the final credits?

7.The framework of 1919, the opera house in ruins, the auction, the few people there, the mementoes, the music box, Madame being present, Raoul being present? The going back to the opera house, to 1919, to Raoul’s journey, his seeing Madame? The ending and his going to the cemetery, Christine’s grave and the information that she had not long died, was a wife and mother?

8.The legend of the Phantom of the Opera, the puzzle as to his identity, his being a ghost, his voice being heard through the theatre? His tutoring of Christine? The accidents, the deaths – and the cruelty of the Phantom, especially the hanging of the stage manager? The appearance of the Phantom, his taking Christine, his face, seemingly ordinary, sinister (or not)? His singing, his antagonism towards Carlotta, the sending of the various letters, his vengeance and cruelty? His hatred of Raoul, his being on the roof for the song ‘All I Ask of You’? His vowing vengeance? The performance of ‘Il Muto’, Carlotta being the star, her spray for her voice and humiliation? The Masquerade – and his appearing in vermilion? Madame telling his story to Raoul, as a boy, the carnival, the disfigurement, the people coming to see him as a sideshow, his vengeance, brutality and escape? Madame saving him? An explanation for who he was, what he did? His taking up residence in the opera house, its being his own domain? The build-up to the finale, the Don Juan opera, his substituting himself for the singer, with Christine? The abduction, the chandelier? The pursuit by Raoul, in the depths, the confrontation with Raoul and Christine, his bargaining for her love for Raoul’s life? The fight between the two – and the echoes of the sword fight and the wounding at the cemetery? His decision to free Raoul, his love for Christine? His being pursued? Character, symbol, the mask, the inner and outer person, beauty and the beast?

9.Christine, her story, her father, his grave, the shrine to him in the theatre? In the ballet, her liked by everyone, adopted by Madame? Love for Meg? The opportunity, the audition for the owners, success, her being feted by the audience and by Paris? Her seeing the Phantom as her tutor, the Angel of Song sent by her dead father? Following the Phantom, going to his lair, trying to remove the mask? Sleep? Her love for Raoul, memories of the past, his wanting to take her out, the Phantom locking the door and taking her? His wanting to promote her career, the managers and their making her the page boy in Il Muto? With Raoul on the roof, her love for him, the song? Her going to the cemetery, watching the fight between the Phantom and Raoul? Singing in Don Juan, with the Phantom, his taking her down, wanting her to be with him forever, his taking of Raoul, the bargain and her letting Raoul live? Her going off with Raoul – and the final images at the cemetery and their life together?

10.Raoul, his being the patron of the theatre, young, attending the operas, recognising Christine, the Phantom locking him out of the room? Raoul on guard, sleeping, Christine going past him? The visit to the cemetery, the confrontation with the Phantom, the sword fight, his being wounded? The finale, his pursuing the Phantom, his being caught, the possibility of his dying? The choices that Christine made? Their life together, his going to the auction, to the cemetery in 1919?

11.The old owner of the theatre, his handing over? Getting the new owners to grovel to Carlotta? The new owners, scrap metal and junk? Their tastes? Their approach to Carlotta, grovelling, getting her to come back? The audition of Christine? Their characters, the newly-rich, the range of songs, the recitative and comic aspects of the songs? Their getting the letters? Their presence at the Masquerade? The final disaster and the destruction of the theatre?

12.Carlotta, the diva, over the top, haughty, her performance, the cast treating her with disdain? Her wanting to walk out, her Italian mutterings? Susceptible to flattery, returning? Her jealousy of Christine? Her return, the spray for her voice, the humiliation?

13.Madame, the supervising of the ballet, her knowing the truth about the Phantom, the letters, his account? Her care for her daughter, adopting Christine? Telling the story of the Phantom to Raoul? Finally with Raoul at the auction?

14.Meg, her friendship with Christine, supporting her, leading the search at the end?

15.The workers at the opera, backstage, the hanging of the manager? The designers, make-up artists? The re-creation of the backstage world of the opera?

16.The staging of the operas, their style, visuals? Hannibal and the mock-heroic style? The neo-Mozart style of Il Muto? The beauty of the Masquerade?

17.Audience understanding of the Phantom – and the importance of the flashbacks to his story and his childhood?

18.The themes of reality and appearances, masks, inner and outer selves, the myths of Beauty and the Beast?

MY HOUSE IN UMBRIA

US, 2004, 103 minutes, Colour.
Maggie Smith, Ronnie Barker, Timothy Spall, Chris Cooper, Giancarlo Giannini.
Directed by Richard Loncraine.

Adapted from a novella by William Trevor, this is a very civilised entertainment, the kind they pick for Royal Command Performances. It is an interesting drama for adults, especially for those who are not as young as they used to be.

The plot is generally unpredictable except at the end (and why not?). What looks like another Maggie Smith performance as an agreeable/disagreeable eccentric marooned in Italy (after all, she did it in Tea With Mussolini and A Room with a View), turns out to be a pleasing sojourn in Umbria with more than a little edge. And Maggie Smith as Mrs Delahunty does it perfectly. Who else can make a line like ‘the brash technology of the 21st century’ sound so haughtily off-putting?

Not knowing anything of the plot, I was pleased to discover it and so will merely mention that circumstances bring an unexpected group of people to the house in Umbria. They include Ronny Barker as a retired general – and his presence makes us regret his absence from the screen for so long. Timothy Spall is the factotum of the house. Chris Cooper (Adaptation, Seabiscuit, October Sky) is the American professor who finds it very difficult to cope with Mrs Delahunty. Giancarlo Giannini is a police investigator. Plays a traumatised young American girl and is a German journalist.

The film is not just a return to the past. Its themes, including terrorism, are quite contemporary. It has a satisfying blend of the old and the new.

Audiences who have been to Umbria will be making resolutions to return as soon as they can.

1.William Trevor’s novella? The British background and Italy? The British style? Expatriates? For an American audience, British audience, worldwide?

2.The Italian locations, the Umbrian countryside, its beauty, the city of Sienna, the house? The beginning of the 21st century? Musical score?

3.The title, the visual focus on the house, the character of the house, its symbolism?

4.Emily’s voice-over, Maggie Smith’s style, in the car with the chauffeur, the atmosphere, getting to the train on time, the place in the carriage, the general and his family, Werner and his girlfriend, her commentary on their love? Amy and her mother, Emily talking to Amy, her mother’s caution? Her being an author, romances, her voice-over about walking in the garden, Amy at the window, the bright light, the crash, the splintering glass, scattered over the fields and the flowers?

5.The transition to the recovery, bewilderment, her friend coming, the scene with the general, his learning to walk, going to Amy, concern about her silence and trauma? The discussion with the doctors?

6.The idea of taking everybody back to the house, their settling in, the peaceful life, the scenic beauty, the general and his sense of peace, Werner and his recovery, his burns? Amy, being with the group, her drawings, her suddenly talking? The English garden, the plan and the model, their working in the garden? Meals, relaxation, recuperation?

7.Uncle Tom, contact with him, his arrival, stiff manner, his being an expert on ants, the background of his wife, the background of his fight with his sister and not talking? The discussions, his resisting Emily? On the phone and his mocking Emily, her listening in? Her pushing drinks on him? The visit to Sienna, the tourism, sitting in the café, his further resistance to her, her visit to his room at night? The decision to take Amy back? The further decision to leave her?

8.Emily, her background story, her home and her adoption, the memories and images of her parents on the Circle of Death? The abusive parent, her running away? Going to America, Idaho, going to Marrakesh, her being abandoned? Her prostitution? Her being rescued? Her indebtedness to her friend?

9.The importance of the dreams, Tom in the dream and her explanation? Amy, Werner and his meeting his girlfriend by accident, the further dreams and her understanding the truth of what hat happened about the bomb?

10.The inspector, the questioning, his visits to the house, the discussions with Emily, her dreams? The revelation of the truth about the bomb?

11.The staff, their joy with Amy in the house?

12.The preparations for Amy to leave, Emily’s sadness, the return, the joy in the household?

13.Werner, his friends, his going off with them, finally leaving, the reconstruction of what happened with his girlfriend, her carrying the bomb, its accidentally exploding and the killings?

14.The optimism of the ending, a film of hope and joy?

BEYOND THE SEA

US, 2004, 120 minutes, Colour.
Kevin Spacey, Kate Bosworth, Brenda Blethyn, John Goodman, Bob Hoskins, Carolyn Aaron, Willie Ullrich.
Directed by Kevin Spacey.

While this film is about singer-entertainer, Bobby Darin, the first comments should focus on Kevin Spacey. He has co-written and directed this biopic and tribute to Darin. He places Darin-centre screen. However, his performance and direction, his singing and his dancing are of top order. Nobody has doubted his talent (think of his Oscars alone for The Usual Suspects and American Beauty). But, Beyond the Sea crams in two hours of Spacey skills for audience pleasure and admiration.

The screenplay is cleverly contrived. It has Darin himself re-living his life with his boyhood self (William Ullrich) as a counter-conscience. However, there is a line, reprised right at the end, that memories are like moonbeams and we can do with them what we will.

Darin was born in 1936, a sickly child whose mother taught him to find strength in music and imbued him with the ambition to outclass Frank Sinatra. He died after heart surgery in 1973. He had become a teen idol, a popular crooner, a film star with an Oscar nomination (Captain Newman MD), Grammy award winner, had married Sandra Dee and had a son. But his career was during the changing 1960s and his style went out of fashion. He devoted himself to politics and finished by writing anti-war songs. As this film is released, had he lived, he would only have been 68.

Spacey sings many of Darin’s songs. He has studied Darin’s voice, delivery, contact techniques with audiences and his orchestrations. It is a very careful rendering of Darin’s music. The screenplay, as it moves from memory to memory (and some fantasy) uses the songs to illustrate situations and themes.
Spacey also capitalises on the political themes of American involvement in Vietnam as a parallel to the involvement in Iraq.

Kate Bosworth gives a convincing interpretation of Sandra Dee, already a film star but only sixteen when she met and married Darin. The film shows his emotional wooing of her but does not shy away from the expected marital troubles, careers and pressures of being on the road and Dee’s loneliness and drinking.

Spacey has assembled a top-notch supporting cast. Brenda Blethyn shows oomph and verve as Darin’s mother while Caroline Aaron brings a certain monstrosity as well as pathos to his sister, Nina. Bob Hoskins is at his best as his brother-in-law and John Goodman is John Goodman as his manager (who served as adviser to the film). Greta Scacchi outdoes Bette Davis or Angela Lansbury as a domineering mother.

While Bobby Darin’s music may seem too 1960s for modern tastes, Beyond the Sea will be nostalgic for many. And Kevin Spacey is worth seeing and hearing.

1.The achievement of Kevin Spacey, the multiple contributions to the film?

2.Bobby Darin, audience knowledge of him, as a singer, entertainer, person? The effect of the film on the popularity of Darin and his career, songs?

3.The title, the range of Bobby Darin’s songs throughout the film, the history of his life through song, the range, his being a rock ‘n roll idol, his moving to standard crooning, ballads, anti-war? Kevin Spacey and his rendition of Darin’s voice and style?

4.The period settings, the 1940s, Brooklyn, the houses and streets? The 1950s, recording studios, television studios, film sets? The Italian sequences? The nightclubs, the Copa Cabana, the environments of the nightclub world? Wealthy homes? The 60s, Big Sur, the sea coast, the 1970s, the protest era? Décor, costumes, hairstyles, cars…?

5.The structure of the film: the initial waiting for rhythmic beat, his beginning to sing, his style of contact with the audience, eyes, sounds and interjections? The band? His stopping, audiences seeing it was a film set, the extras, his anger with the band? With Steve, with Dick? The criticism from the cameraman and Steve and Dick defending him? The boy, his younger self, beginning a dialogue with his younger self? The blend of reality, fantasy? Interpretation?

6.The theme of Moonbeam Memories and manipulation of these for all kinds of purposes? The reprise at the end? The result as an interpretation of Darin’s life?

7.The sick boy, the doctors and his hearing the verdict? Polly and her devotion to him, Nina and Charlie and their love and care? Ill for so long, his mother teaching him music, Polly and her singing, dancing, playing the piano, the constant practice? The Copa Cabana, Frank Sinatra’s poster? Her urging him to greater things? His friendship with the members of his band, with managers, Steve, Charlie? Their continued loyalty to him?

8.The dance sequences, the choreography, dancing in the Brooklyn streets? Polly’s death, the younger and the older Bobby at her side?

9.Branching out in his career, change of name, Mandarin to Darin? Television, the recordings, the failures? Singing, ‘Splish Splash’ and the audience swooning…? Success, teen idol? Rock ‘n roll? His skill in singing, communicating? The beginning of a career, the group helping him, the role of each in their assisting him?

10.Come September, going to Rome, meeting Sandra Dee, his being rude, introducing himself over again? The encounters with Mary, her style, domination, determination? Protection of Sandra? His wanting to go out, the permission, sharing things with Sandra, her fascination with him, the press conference – and their running? On the water, Mary’s reaction, anger, their marrying secretly, Sandra only sixteen? The first night, her timidity, his image of the sword and putting it on the bed, chivalry? The revelation of the character of each in the courtship and the marriage?

11.Mary, her character, hard, only hearing about her for the rest of the film? Her accepting her place as grandmother?

12.The 1960s, the respective careers, Sandra Dee as Tammy and Gidget, her films? Darin and his acting, the scene from Captain Newman MD, the Oscar nomination, the party, his not winning and his rage?

13.On the road, Sandra in the audience, the birth of the child? The bonds, tension for Sandra, so much travel, smiling in response to Bobby? Her beginning to drink, smoke, her hardness, language? Darin and his capacity to smooth things over, in the hotel, Steve walking in…?

14.The character of Steve, friend, loyal, manager, the bookings, exasperation?

15.Charlie, his relationship with Nina, his continually there, the garbage man, turned friend, manager, always helping, especially at the end with the health issues?

16.Dick, his musical skills, with the band?

17.Nina, at home, a loud and domineering personality? Her disappointment at not getting a good table at the Copa Cabana? Bobby in politics, her deciding she had to tell him the truth? The effect on her telling him? His reaction? The going to the Copa Cabana and his acknowledging her as his mother, her repeating this and her tears?

18.The Copa Cabana and its importance, outdoing Sinatra, the initial success, Sandra present, Nina and the table? His later return to the Copa Cabana and his failure?

19.The interest in politics, his career declining, changing tastes, the decline of the nightclubs? His being at home, the domestic scenes, playing with his son? Supporting Bobby Kennedy, the interviews, Bobby Kennedy’s death and its effect on him?

20.The fight with Sandra, the clashes, their both leaving, returning, reconciling? The divorce? His retiring to the caravan, to the Big Sur? His memories? Charlie’s visit?

21.The return to the Copa Cabana, the people talking, booing him? His ballad? The party at home, his son seeing him with Sandra? Her comment on people seeing what they hear? His going to Las Vegas, his success? His declining health?

22.The build-up to his final illness, death, the plaintive song? The visuals?

23.The film continuing, the revival of his life in his singing, the two Bobbys and their singing, alive? Moonbeams?

24.The subsequent information about each of the characters?

LOVE COMES SOFTLY

US, 2002, 88 minutes, Colour.
Katherine Heigl, Dale Midkiff, Corbin Bernsen, Theresa Russell, Oliver Mc Cready, Sky Mc Cool Bartusiak.
Directed by Michael Landon Jnr.

Love Comes Softly was produced by the Faith and Values Organisation in the United States, associated with the Hallmark Channel. In fact, this film is very much the Hallmark Channel kind of values film oriented towards the average audience. It is in the tradition (with Michael Landon Jnr co-writing and directing) of Little House on the Prairie and The Waltons.

The film was adapted from a series of very popular novels by Janette Oke.

It is a film about pioneers, travelling west. There are no signs of Indians or other difficulties, the film focusing only on a young couple who move from the city westwards. The husband is killed almost on arrival and the pregnant wife is taken in by a widower, grateful that she can look after his daughter. The daughter is still grieving her mother and particularly cantankerous towards the young woman. Inevitably, of course, things work out well with the young woman finally getting the idea to make a dress for the young girl out of one of her own dresses that the young girl had admired imagining it for her own mother.

There are some action sequences, especially a quite effective snowstorm with the young woman lost. Otherwise, it is a pleasing study of pioneers, life in the American west, glimpses of the hospitality of the townspeople. (No Law and Disorder in this place.)

Katherine Heigl has a charm as the young woman and former action star Dale Midkiff is persuasive as the widower, a devout man not afraid to pray and sing out aloud to God as well as discuss the presence of God, especially in suffering. Corbin Bernsen and Teresa Russell have small roles as kindly neighbours, Teresa Russell having the speech where she explains that love is not necessarily overwhelming but can come softly. Sky Mc Cole Bartusiak is quite rugged as the young girl.

1.The appeal of this kind of entertainment? The family? The values element, the religious element?

2.The American west, the open plains, the mountains, the river and the valley? The small American town? The seasons, the snowstorm? The musical score?

3.The title, Sarah’s explanation to Marty? The nature of Marty’s love for her husband? Her coming to love Clark, to love the little girl? The birth of her own child and her comment about the overwhelming experience of love?

4.The opening, travel, Marty and her books, her pragmatic husband? Suddenly finding the valley? Settling down, the search for the lost horse, the accident, Ben and his bringing Aaron’s body home? Marty’s grief, the funeral, Sarah trying to help?

5.The comparison with Clark, his being a widower, memories of his wife, his daughter and her missing her mother? The couple coming together? Sarah and her explanation of her being a widow, having two children, meeting Ben and his two children, their marrying, supporting each other – but eventually love coming softly?

6.The set-up with Clark and Marty, her bargain to help the little girl, the chores, teaching her? Her settling into the house, her accidents, the little girl taunting her? The battle between the two, the practical tricks, Marty and her having to cope, learn to cook, milking the cow and the little girl joking with her and despising her ignorance? Not wanting to learn to read or spell? Marty and her determination to overcome the difficulties?

7.The antagonism, its growth, Clark allowing this and knowing that this is what his daughter needed to come through, encouraging Marty to reach her? The episode with the dress on the bed, the girl remembering her mother, Marty seeing this, the little girl’s anger, Marty’s idea and making the dress, breaking through to the girl? Her wearing it – and still attacking the young boys who were amazed at her in the dress? The change, the preparation for Christmas, the Christmas tree, the dinner, the gifts? Marty and her determination to cook, catching the chicken, plucking it, cooking? The bonds between them?

8.Marty’s pregnancy, her being lost in the snow after finding the horse, Clark and his finding her, the girl and the shots, banging the dish to guide them back? The drama of this sequence?

9.The birth of the child, Mary not wanting Clark there, depending on him, the little girl going in to see the baby?

10.The time for Marty to leave, the preparations, her not wanting to go, her watching Clark singing his prayer, discussing the fire in the barn and the destruction of her property, her not being able to believe in God (and her saying that the Christmas story was not read in her household)? His explanation of God’s being present in suffering? The collage of her remembering her life? Her writing the note, the accident of its being dropped, leaving and Clark not asking her to stay? The sadness, his return home, the little girl upset, his finding the note, riding the horse – and the happy reunion?

11.This kind of film for an American audience, wider? The lack of sophistication? The tugging at heartstrings? The didactic tone of the presentation of values via this kind of easy and popular story?

WITCH HUNT

Australia, 1999, 90 minutes, Colour.
Jacqueline Bissett, Cameron Daddo, Jerome Ehlers, Suzi Doherty, William Gleuth, Alexandra Schepisi, Gerald Lepkowski.
Directed by Scott Hartford Davis.

Witch Hunt is based on actual characters and events in the state of Victoria. They have been altered – and the film-makers acknowledge that this is a speculation on the events and what could have been.

The film focuses on the abduction of a young girl. Her grandparents (Jacqueline Bisset and William Gleuth) blame her father who has been divorced from their dead daughter and has partial custody of the child (Cameron Daddo).

Jerome Ehlers and Suzi Doherty are the police. There is a thorough investigation, trying to find clues. The father is desperate and blames the grandparents, eventually accusing the grandmother of being a witch. He is continually desperate and it is credible that he has taken his own child. Jacqueline Bissett is smooth and strong as the grandmother, dominating the rest of the family, her husband and her son and antagonistic towards the father of her daughter? She laughs at the accusations of being a witch.

However, as the film progresses it emerges that she has an interest in the occult, that she has written books, that she is a witch and wants to pass down the powers to the next generation, but with her daughter dead she has to do it with her grandchild whom she has abducted.

Eventually the case is complete, the grandmother had urged her son to hire an assassin to kill the father – but he had hired an undercover policeman.

The film is melodramatic – but, with suggestions from the actual case, it makes a plausible enough study of the situation of abduction, domestic violence, and the possibility of witchcraft.

1.An entertaining thriller? True story? Family relationships? The background of witchcraft? Contemporary police work?

2.The Australian setting, the Victorian countryside, the town, the homes? The open fields? The city of Melbourne? Musical score?

3.The title, the reference to Barbara, her work, her associates? The witch hunt against David?

4.The situation: the disappearance of the little girl, the sequence of her disappearing? Her father’s reaction, love for his daughter, the relationship with her mother, her mother being dead, his wanting custody? Barbara and Ray, their custody of the child, their relationship with their daughter, hostility towards David?

5.The portrait of David, erratic, emotional? Work? Marriage, his in-laws and their dislike? His love for his daughter? Her love for him? The flashbacks, his friends, Barbara, the family, his wife, moving away from him, their clashes, her death? His being by himself, the desperate search? The fact that he was a target for assassination? His final vindication? The complexity of his character, the experience, fathers discriminated against?

6.Barbara, her calm, age, experience? Her domination of her husband? Domination of her daughter? Watching over the child? The information about witchcraft, her friend, the books? Her antagonism towards David? Interrogations by the police? Working behind the scenes, the abduction, the contract for David, asking her son to arrange it? The gradual revelation of the truth, trying to recover the child? The witchcraft, the handing on of powers? Her dead daughter, her granddaughter being the potential witch? The credibility of this kind of woman being a witch?

7.The strong presentation of the police, Jack and Jenny, their work, thoroughness, investigations, interrogations? Suspicions? Their discussions with David, Barbara and her treatment? The eventual arrest?

8.The assassin, the son and his dislike of David, obeying his mother? The arrangement – and the irony that he was an undercover policeman?

9.The portrait of the town, the friends of the Thomas family, the shopkeepers? Perfectly ordinary? A setting for this kind of witchcraft story, abduction?