HOFSHAT KAITS (SUMMER VACATION / MY FATHER, MY LORD)

Israel, 2007, 74 minutes, Colour.
Assi Dayan, Sharon Hacohen, Ilan Griff.
Directed by David Volach.

Hofshat Kaits is a brief film from Israel, taking the audience into the world of the Ultra- Orthodox Jews in Israel. David Volach, writer and director of the film, grew up in this community but rejected it and left. His film is a critique of the fundamentalist and literal interpretation of the Bible promoted by the rabbis.

The film shows in some detail the work and teaching of the rabbi, Abraham Eidelmann (Assi Dayan). He is an older man, venerated by his students, continually quoting the Scriptures and the blessings for every aspect of the day and of life. His wife is loving, caring for their young son, but in some ways uneasy with the strictness of the Orthodox life. Their young son, Menahem, is made to sit at his father’s desk (even going to sleep) and attend Torah school.

However, the little boy is far more interested in the summer holiday and suggests the Dead Sea. The group goes to the Dead Sea and, in a moment of distracted prayer, the rabbi loses his son who drowns. He accepts this death as God’s will, with prayer and stoicism. His wife, on the other hand, mourns in silent grief and cannot accept the death – finally, in a gesture of rebellion, pushing the books over a ledge onto her husband’s table.

Previously, there had been a scene of symbolism where the rabbi, quoting Scriptures, sent a mother dove away from her nestlings in the nest.

The film moves slowly and with some dignity, immerses the audience in this Orthodox world, shows interesting glimpses of the Dead Sea as a holiday resort. However, the film is highly critical in more subtle ways in the extreme religiosity and faith exercised by the rabbi.

1.The impact of the film? For Jewish audiences? For the Orthodox? For non-Jewish audiences?

2.The presentation of the Orthodox world, the veneration for the rabbi, the quoting of the Scriptures, the study of Torah, the blessings for every moment of the day? The literal interpretation of the Scriptures? Their guiding every aspect of life and decision-making? The film, in its story of the death of the boy, and his parents’ reaction, offering a critique of this literal faith?

3.The settings, the rabbinic school and its detail, the home life, the Dead Sea and the resort? The musical score?

4.The character of the rabbi, his age, his pondering the Scriptures in his study, going to the school, lecturing the young men, sharing experiences and prayer? At home, working in his study, his son sitting in front of him, their not communicating? The meals? The decision about the holiday, his agreement? Enjoying the holiday on the beach at the Dead Sea? His letting go of his son? His reaction to his son’s death? God’s will, prayer? Trying to comfort his wife? His wife’s rebellious action in pushing the books onto his desk at the end?

5.Esther, her role as a woman in Orthodox society, as a cipher for her husband? Mother of her son? Her devotion, love? The housekeeping, the meals, deference to her husband, sending her son in to him, the discussion about the holiday, arranging the transport? The separate beach for the women? Her son’s death, her grief, lamenting that she should have been with him? Her final rebellious act?

6.Menahem, his age, absent from the school, his father looking at his desk? At home, with his mother, the perspective of a little boy? Their looking forward to his bar-mitzvah? With his father, going to sleep? The distractions in class, looking at the dove, the chicks? His father quoting the Scriptures, sending the dove away? His not being able to understand this? His card, asking whether it was idolatry, his father’s lecture, having to tear the card up? In the streets, seeing the ambulance, the dead woman, the devotion of the dog, his asking his father about a Heaven for dogs? His exhilaration with the holiday, enjoying it, his death and drowning?

7.The students, their deference to the rabbi, study, prayer?

8.The effect of an audience entering into this world, watching the characters, experiencing their situations? Critique?

THE QUICK AND THE DEAD

US, 1995, 107 minutes, Colour.
Sharon Stone, Gene Hackman, Russell Crowe, Leonardo Di Caprio, Tobin Bell, Roberts Blossom, Kevin Conway, Keith David, Lance Henriksen, Pat Hingle, Gary Sinise, Mark Boone Jr, Olivia Burnette, Fay Masterson, Woody Strode.
Directed by Sam Raimi.

The Quick and the Dead has a very strong cast for any film let alone a western during the 1990s. Sam Raimi had been making horror films up to this time with a branching out to bigger budgets with Dark Man starring Liam Neeson and Frances Mc Dormand. After this he was to move to such mainstream films as A Simple Plan, The Gift as well as the Spider Man films.

The film is set in the town of Redemption, ruled over by a ruthless sheriff played by Gene Hackman (in the vein of his role in Unforgiven). Leonardo Di Caprio, emerging as a star at this time, plays his reckless and vain son. Russell Crowe appears in his first major Hollywood film. Thirteen years later he and Leonardo Di Caprio were to appear together in Ridley Scott’s Body of Lies.

Sharon Stone has the central role, a woman gunfighter in the vein of The Man With No Name.

The film has a very strong supporting cast including Tobin Bell before he became famous for Saw.

The film is very stylish in its setting, styles of photography and filming – with special effects like a bullet hole in the head with the camera peering through it during a gunfight. The film is an entertaining western – one of the few westerns from the 1990s.

1.The impact of the film? Drama? Western? Gunfighter competition? The work of Sam Raimi – in the retrospect of his further career?

2.The town of Redemption, in the desert, the buildings, the streets, the saloons? The style of colour photography? Darkened? The special effects for the gunfights? The spaghetti western-style score?

3.The title, life and death? The gunfight to the death?

4.The atmosphere of the opening? The prospector digging for gold, the confrontation with Ellen? Her chaining him up? The introduction to Ellen? The mysterious gunfighter? The fact that she was a woman? Her memories – and the flashbacks inserted throughout the film? Herself as a child, Herod and his men? The taking of her father, the doctor shielding her, her father hanging? Herod giving her the gun, her inability to shoot the rope? His death? Her returning to search for his grave at the end? The doctor explaining to her what Herod had done? Digging up the body, burning it? Motivation for her revenge?

5.The town, Ellen’s arrival, the storekeeper and his rudeness, her attack on him? The young girl and the prostitution in the town? Her reaction, talking to the girl?

6.Herod, his personality, his past as an outlaw? The continued revealing of his brutality? The flashbacks with Ellen’s father? Cort and his story about the priest, his help, Herod forcing Cort to shoot him? His ruling the town, his arrogance, wanting applause, the people’s hatred of him, taking their money and taxes? Their hiring a gunfighter to gun him down? His reaction to the town? His relationship with his son?

7.Fee, known as The Kid? His age, his vanity, his wanting the respect of his father and not getting it? Boasting about his shooting and speed? His interaction with Ellen? The morning after? His liking her? His friendship with Mattie and her devotion to him? His becoming involved in the competition, the shootout and his killing his rival? The build-up to the confrontation with his father? His presumption, his vainglorious remarks? The final confrontation, his being surprised in his death, reaching out to his father?

8.Cort, becoming the preacher, getting religion? His non-violent stances? Yet his being trapped by Herod, being chained? His interactions with Ellen? Hostile? Advising her for the shootout, the click before the bell sounded? His story about the priest, helping him, helping him back to a new life, Herod forcing him to shoot the priest? His not wanting to be involved in the shootout? The confrontation, the gun, his opponent not dying, calling to the blind boy to get a bullet, finally killing the rival? The relationship with Ellen? Sexual? The next morning, the confrontation between the two? His shooting her?

9.Herod, his vindictiveness, his shooting the hired gunfighter, their discussions, the death, the hole in the head?

10.The men of the town, Herod’s gang, Eugene Dred and his attitude towards the girls, setting up prostitution? The confrontation with Ellen, her killing him?

11.The range of gunfighters, the prospector at the beginning, his shootout and death? Ace, his boasting, the girl holding the card, his death?

12.The storekeeper, his attitude towards Ellen, his gratitude for her protecting his daughter? His running of the competition?

13.The marshal, the flashbacks, a good man, Ellen as his daughter, Herod as his enemy, his being hanged? The help of the doctor, especially for Ellen?

14.Life in the town, the people subdued and cowardly, Herod’s dominance? The gunfights, Herod wanting applause? The final confrontation with Cort? Shooting at him, the explosions in the town, Ellen returning, not dead, and the final confrontation and death?

15.The patterns of the traditional westerns as developed by the spaghetti western – and a western from Hollywood at the end of the 20th century?

MO

UK, 2010, 110 minutes, Colour.
Julie Walters, Gary Lewis, David Haig, Stephen Mackintosh, Adrian Dunbar, Toby Jones.
Directed by Philip Martin.

Mo is a star vehicle for Julie Walters who has portrayed a number of famous people in movies made for television including A Short Stay in Switzerland and Filth: The Mary Whitehouse Story. She now plays the celebrated politician Mo Molam. Mo Molam was significant in the discussions in Northern Island which led to the 1998 Good Friday treaty. She was the secretary of state for Ireland for two years.

However, just before the 1997 election, she had a medical check-up and was found to have a tumour on the brain. She kept up her political career for several years until Tony Blair removed her from secretary of state for Ireland to another cabinet position.

The film shows the drama of the discussions and negotiations in Northern Ireland, the bigotry, the political difficulties and religious differences and how Mo Molam, not short of a swear word when needed or not, was able to handle the various characters including David Trimble (presented unsympathetically) and Gerry Adams. There is also the background of the interest of Bill Clinton and his representative George Mitchell.

The film also shows the deterioration in Mo Molam’s health. She is supported by her husband (played by David Haig) who believed she could have been the party leader. Also in support is Gary Lewis as the MP Adam Ingram who worked with Mo in Ireland and had a great admiration for her. The film is directed by Philip Martin, director of a number of television movies including two of the Wallender series.

1.The impression of Mo Molam? In real life? As dramatised?

2.Audience knowledge of British politics? Sufficient background and explanations? Tony Blair and New Labour? The election in 1997? The negotiations in Northern Ireland? The 1998 Good Friday agreement? The personalities of Tony Blair, Peter Mandelson, Mo Molam?

3.The atmosphere of the times, the 1990s? In England? Parliament? In Northern Ireland? In discussions? The background of the people of Northern Ireland and the divisions? The significance of the centuries-old divisions, the desire for union, the antipathy towards union? The dependence on England?

4.Julie Walters’ performance as Mo Molam: in mid-life, her relationship with Jon, his children? Her place in politics? Ambitions? In opposition? The importance of her health, her going to the doctor, the support of the doctor, the brain tumour? Her direct approach to her illness? Asking direct questions about how long? The secrecy? Her decision to keep it from the public, the phone call to Tony Blair? Her manner with Blair on the phone? The chemotherapy, its effect, nausea, hair falling out, the fitting of the wigs? The comment of the television reporter about her wig? Her success in the elections?

5.Mo Molam and Ireland? The support of her husband? Not seeing him during the week? The reunions? The family meetings? Friends? The encounters with David Trimble and his hostility? The meeting with Gerry Adams and Martin Mc Guinness, the attitude of the IRA and Sinn Fein against the British? Her using her tactics? Her taking off her wig and scratching her head? Her salty language?

6.The issues in Northern Ireland, policing, the release of prisoners – and her accepting that as a consequence? Later in the film when the released prisoner came for her autograph and his praise of her? The issue of the parades and the Orange attitude towards parading through Catholic areas? David Trimble and his despising her?

7.The international negotiations, George Mitchell from the United States, the conversations with Bill Clinton? The conversations with Tony Blair? Tony Blair taking over, the criticisms by Jon? Her not regarding them as true?

8.Her friendship with Adam Ingram, their working together, his personality, able to tell her the truth, her angers with him? His meeting her after her retirement and the bond between them?

9.Peter Mandelson, taking over, his attitude towards Mo Molam? Her despising of him? His becoming secretary of state for Ireland, the announcement and praise – and her going behind the pillar and venting her anger?

10.The discussions with the doctor, his continued care of her, giving her advice, friendship?

11.Mo Molam and her disillusionment? Her retirement? Her continued illness? Her writing a column, appearing on television, her book, the book-signing?

12.The doctor and his advice about the tumour, the possibility of it having been there for years, her wondering about her personality and what was determined by her own self and what was determined by the tumour?

13.The picture of Jon Norton, his relationship with Mo, the marriage, the tensions, his ambitions for her, his despising of Tony Blair? His unrealistic putting her on a pedestal?

14.A glimpse of the politics of the period? A personality? Behind the scenes? Achievement despite limitations of illness, drinking, personality? The popularity of Mo Molam amongst people?

PAROKSH (INDIRECT)

India, 2009, 123 minutes, Colour.
Devya Dutta, Rituparna Sengupta, Kiran Janjani.
Directed by Anup Das.

While the surface might look like many of the Bollywood films, even having some music and songs as background, Paroksh is quite a different kind of film. It is a story of moral and ethical issues.

There is a Mumbai story, occupying the first part of the film where an educated couple, she an upwardly mobile banker and he a businessman, face the issue of having children or not, career or not. This leads to an abortion, decided by the mother, not having the advice of the father. This leads to all kinds of moral issues and questions – and opens up the possibility of surrogacy. Meanwhile in the village, a traditional ceramics artist finds himself in debt and a diminishing clientele. His wife has some children – but other girls from the village have gone to Mumbai to act as surrogates. His wife agrees to go to the city.

With this interconnection between city and country, the issues of career and decisions about children contrast with those of the enthusiasm of the people of the country for bearing children. This reaches a dramatic climax – and leaves the audience asking many questions about their stances on these issues. This is not usual in an Indian film from the west coast – and the film-makers hope to raise the issues not only for people in the city, but for those who watch films in the countryside.

1.Audience response to Indian films? Outside India? Within India? Urban audiences? Audiences in the countryside and villages? The Bollywood background? The serious issues? Combining both styles?

2.A film designed for a wide audience, for enjoyment of a commercial story, for the raising of serious issues?

3.Mumbai, western dress? Technology? Awards? The homes, wealth, the beach house?

4.The contrast with the village, the poor homes, the workplaces, clothes, possessions?

5.The musical score, the songs, illustrating the themes? The title and the translation of Indirect?

6.The introduction, the wealthy world, she and he, their characters, she as ruthless in her business, talking with her husband or not? The trainees, the bosses, business, opportunities, the opening up of career, vice-presidency of the bank? The husband and his life, devoted to business?

7.Tanvi and her becoming pregnant, the dilemma about the pregnancy and her career? Sending emails to her husband? Her friend and discussion? Going to have the abortion without her husband’s opinion? The effect on her, emotionally? The husband and his reaction? Her parents and their traditional values? The husband and the dilemmas about continuing in the marriage or not?

8.The effect on the different parents? Raising the issues of adoption and the discussion of these issues?

9.Tanvi’s friend, discussions, raising the issue of surrogacy? Going to the clinic, the ethical questions, the interviews, the money issues? Surrogacy as a business?

10.The doctor, the opportunities, his mercenary assistant, phone calls to the country, his agents looking for women to bear the children?

11.Village life, the ceramics, Mohan and Gouri? Their happiness together? Desperate for money? The family? The client and his arrogance, rejecting and breaking the idol? The brother and his angers? The greedy man, the massage, his reaction? The agent with loans and demands? As an agent for surrogacy?

12.The issue of surrogacy, the women in the village, their attitude towards giving birth, helping women incapable of giving birth?

13.Gouri and her meeting Tanvi and her husband, the parents and their offer of care, her arrival, the lavish clothes, pampering her?

14.Gouri referring to ‘my baby’, Tanvi and her becoming anxious, her nightmares, imagining the worst, discussing these with her friends? The scans? Gouri and her feeling the baby, Tanvi unable to feel it?

15.The truth about Tanvi being capable of pregnancy, Gouri’s dismayed reaction?

16.Gouri’s fall, its effect? Going to hospital? Desperation? The choice of the death of the child? For the mother to be able to return to her own children in the village? The background of Tanvi, at the dinner, her getting her award, her speech, the achievement?

17.Tanvi and her speech, her husband and the phone call, her return?

18.Gouri and her return to the village? Her final speech to Tanvi, wishing her well, urging her to have children?

19.Tanvi and her husband, their life, happiness, the biological clock, the options, having the child? Happiness?

20.The film as a way of dealing with moral and ethical issues in the complex Indian context? Its relevance for world audiences?

ANWAR: DREAMS OF A DARK NIGHT

India, 2009, 61 minutes, Colour.
Directed by Anwar Jamal.

A personalised story of a young man who has dreams of being a success in life, moves to Delhi and then is chosen by a director, Anwar Jamal playing himself. It has echoes of Slumdog Millionaire while creating its own world on the city and the border with Bangladesh - as well as the love of movies with the young man opening up his own theatre.

1.The impact of the film, short story? India, slums of Delhi? Echoes of Slum Dog Millionaire?

2.The blend of documentary and fiction? The director as a character? Seeing him directing the young man?

3.An authentic feel, the streets of Delhi, the houses, the slums, the rubbish tips? The countryside and the village? The rivers and the crops? The local cinema? Atmosphere and score?

4.The title, the opening and the re-showing the scene of the storm at night? The reality and dreams of the central character? Movies as dreams? The dream of building a cinema? The audiences coming to the cinema and their response?

5.The portrait of the boy, his life in the village, relationship with his parents, his mother’s criticism of his watching the movies, his working in the fields, washing in the river, leaving the village? Collecting waste in the city, the police and demanding his documents? His return to the village? The director appearing and giving him the money? Building the cinema, his friends helping, the fire destroying the building, ultimate success, going to the city to buy the projector, the audiences coming? The design of the cinema, especially the chairs and the holders for the babies? The young man and his age, experience, the possibilities in life, fulfilling dreams?

6.The authorities, the police in Delhi, the authorities and having documents filled in in the village?

7.The portrait of friends, family?

8.The filming, the director, the locations, the accident, the set-ups, the drive and the phone call? A film about film and filming?

A SPAN OF HEAVEN

Iran, 2008, 87 minutes, Colour.
Directed by Ali Vazirian.

A Span of Heaven is a small Iranian fantasy about the Afterworld, speculating on Heaven?

The film focuses on a very poor family, begging in the streets, organised by a boss who collects the donations from the children. The father also begs in the street but his material is confiscated by the police. Desperate, the little boy prays to God that something good will happen to them. An angel appears and gives him the gift of part of Heaven, a span.

The avaricious uncle of the boy gets in on the act, tells an unscrupulous estate agent about Heaven, experiences something of what Heaven is by entering into it. A very rich businessman with his bored wife also become involved.

The film shows the greed of people trying to get their span of Heaven, paying exorbitant prices and the rich man and the estate agent exploiting them? The boy is sorry, tries to pray again, receives another span of Heaven but tries to preserve it. However, the uncle is brutal, betrays him to the estate agent – who then exploits it at the expense of the wealthy man.

Ultimately, everything is good and the boy has his span of Heaven.

It is interesting to see the criticism of the greed of the wealthy, the con tricks and exploitation by businessmen, the cruelty of families. The boy is very effective in the role and the angel is quite genial. An interesting look at some fantasy and mythology from the point of view of Islam.

1.A film for children? Adults?

2.The blend of realism and fantasy?

3.The title, Islam, issues of life and death, imagination of Heaven, angels? Answers to prayer?

4.The city, poverty, the contrast with the wealthy and their homes, offices? The streets? The musical score?

5.The visuals of Heaven, light and space? The audience gauging Heaven by the reaction of the characters?

6.The children, their selling tickets in the street, the little girl and her money stolen, in the bus, the demands of the boss, the boy paying for the little girl, their friendship?

7.The opening of the film: the dream, the wealthy man, in the maze, light, death, waking up in the car, his complaining wife? Wealthy life, the bored wife, business deals, wanting something new?

8.The family, the children, the father and his goods being confiscated by the police, home life, the mother, the brother-in-law and his bullying?

9.The boy and his prayer, the angel, the gift, his delight?

10.The visual images of the angel, the young man?

11.Heaven, the span of Heaven, the light, people discovering it, the uncle going in? His forcing the boy to part with Heaven? The agent, his business called Paradise, his assistant, the phone calls, the secretary? A conman, greedy? In partnership with the businessman, the deals? The huge range of customers wanting to buy? The secretaries and their behaviour? The queues, the profit, taking the money to the bank?

12.The boy’s father, being dominated? The boy and the girl and their friendship? The estate agent and his getting them a better house – and the later discovery that it was owned by the city? The uncle and his greed for the money?

13.The film showing double deals, cons, the wealthy man tricked by the estate agent?

14.The new span of Heaven, the uncle forcing the boy to give it up, an alternate business, the wealthy man failing?

15.The angel reappearing, the talk? The chases? The effect on the uncle, on the agent?

16.Learning lessons, greed? The value of family? Heavenly happiness?

ST TRINIAN’S: The Legend of Fritton’s Gold

UK, 2009, 106 minutes, Colour.
Rupert Everett, Colin Firth, David Tennant, Gemma Arterton, Talulah Riley, Tamsin Egerton, Sarah Harding, Celia Imrie, Jodie Whittaker, Toby Jones.
Directed by Oliver Parker and Barnaby Thompson.

When St Trinians appeared in 2007, it was meant to be a throwback to the British comedies of the 1950s, especially the classic The Belles of St Trinians from 1954 (which led to some lower brow sequels). The 21st century version seemed too knowing, too much innuendo and only spasmodically funny. So, it is a surprise to find the sequel so entertaining.

This time the girls are more cartoonish caricatures, much more like Ronald Searle's original sketches. And the dialogue is particularly PGish which makes it more like the original as well.

There are quite a few laughs and smiles, especially in some of the incidental dialogue and one-liners, often at the expense of the pretty but dumb girl. There are far fewer girls as pupils and, apart from Celia Imrie and Toby Jones, no staff except for Rupert Everett's Miss Fritton, the headmistress, can be sighted. While there are some shenanigans in the school, the action takes place outside.

It is all set up by an amusing prologue where Rupert Everett appears as a 1589 pirate confronting the prim and pedantic Lord Pomfret (Dr Who/David Tennant) who feels that women should be subservient and has no time for Elizabeth 1st. Cut to the present and the current Pomfret (photographed with the Queen, President Obama and Simon Cowell) has plans to recover the Fritton treasure by finding the two parts of a ring which give the latitude and longitude. With debts to such films as National Treasure, the hunt by the girls (via computers, digging up a grave and the head girl being possessed a la Exorcist, a visit in disguise to a boys' college, a song and dance routine at Liverpool St Station), leads to the ring and then to the Globe Theatre for the treasure.

In the meantime, a sexist secret society, presided over by Pomfret (with debts to Dan Brown) is infiltrated by the inspector of schools from the previous film, Colin Firth, who shows he is still a good sport and allows himself some scenes of buffoonery.

The climax is funny as Miss Fritton and the inspector improvise scenes and pseudo Shakespearian dialogue from Romeo and Juliet on the Globe stage until the treasure is found.

Probably, the screenwriters are more indebted to Shakespeare in Love and Ethel, the Pirate's Daughter, as the final twist will raise eyebrows and give a chuckle or two, or three.

1.The popularity of the original St Trinian’s films? Ronald Searle’s cartoons? Caricature and cartoon humour? The 21st century remakes? Popularity?

2.A different United Kingdom, schools, London, Liverpool Street, the sights of London, the Globe Theatre? The animation inserts? The score and the songs?

3.Audience knowledge of the girls, the cartoons? The opening and the speeding and the police car chase? Arrivals at the school, chaos, settling in? The identification of the range of groups of mean girls? The professor and his tripping over the luggage? The introduction to Miss Fritton? To Matron? Establishing the mood?

4.Indebtedness to Pirates of the Caribbean, The Exorcist, Shakespeare in Love, Henry V, Romeo and Juliet?

5.The caricatures? Annabelle as the head girl? The geeks and their computers? The Gothics? The dumb blondes? The West Indian?

6.The action of the film not taking place in the school, therefore funnier and more cartoonish?

7.The opening, the 16th century pirates, the pirate Fritton, Pomfrey and his command of the ship, his prejudice against women, Queen Elizabeth? The attack, tying Pomfrey up? His outbursts? Wanting vengeance? The 420 years passing?

8.Pomfrey and the 21st century? The associations, the queen, Gordon Brown, Simon Cowell, playing tennis with Sting? Dapper, his slow-witted assistant? The visits and the confrontations?

9.The AD1 Association, its anti-women stances, sexist philosophy, sexist outbursts, Geoffrey and his drinking, his proclamation of the ideals?

10.The archives, the girls searching for the ring? Pomfrey and his offer of money, Annabelle wanting one hundred thousand pounds? Miss Fritton and her reaction? The research, the girls and the computers, the documents and the clues, the cards and the verses? Digging up the corpse – and the shrill scream because Chelsea’s nails had been broken? The Gothic girl and her fear? Annabelle in charge? Her contacting Kelly Jones for advice (and Kelly Jones and her espionage activities)? The disguise as boys and going to the boys’ school, talking to the boys, the choir and getting them to sing reggae tunes? The headmaster and the chase? The portrait with the ring? Their escape?

11.The search to find the treasure, in the train, the exotic dance in Liverpool Street and the crowds? Getting to the Globe?

12.Backstage at the Globe, the actors for Romeo and Juliet, Geoffrey and his arrival, his seeming to betray them, his actually getting the ring? His posing as drunk? Miss Fritton reconciled? The swordfight with Romeo? Miss Fritton and Geoffrey on stage, Romeo and Juliet, improvising, the audience enjoying it? The professor and his having to improvise?

13.Below the stage, the search, the wall, it opening up, the chest, discovering the manuscript of the play? Pomfrey and his pursuit, waiting in the theatre, downstairs, the confrontation with the girls?

14.The revelation of what Pomfrey was wanting to do, the revelation that Shakespeare was a woman? The revelation that Fritton was a woman pirate? AD1 wanting to destroy all this evidence?

15.AD1, the ceremonies, the overtones of The Da Vinci Code? Geoffrey and his inserting himself, drunk, substituting the ring?

16.The Thames, the boat, the explosion? The manuscript? Pomfrey coming out of the water? The interviews? The amusing variation on feminist themes?

COP AND A HALF

US, 1993, 97 minutes, Colour.
Burt Reynolds, Norman D. Golden II, Holland Taylor, Ray Sharkey, Ruby Dee.
Directed by Henry Winkler.

Cop and a Half is in the Home Alone genre. Burt Reynolds is a jaded cop. He is assisted in his investigations by a pint sized eight year old orphan. The film was directed by Henry Winkler, his strictly formula material designed for the family audience. Youngsters enjoy the slapstick comedy as well as the young boy (Norman D. Golden II) identifying with the police and helping them in their investigations. The setting is Florida, drug dealers (Ray Sharkey hamming it up as the villain). Ruby Dee is the boy's grandmother. The boy himself is precocious but not quite sentimentally as so many youngsters.

1. Audience enjoyment of formula material? The adventure appeal, comedy? American style?

2. The Florida and Tamper settings, action sequences, stunts? Musical score?

3. The title, Burt Reynolds and his background in police films and investigations, teeming up with the young boy (a variation on Home Alone)?

4. Devon, eight year old, playing games with the toy gun, the school bullies, squirting the principal, the principal lecturing him - and his repeating it later when he held him up for speeding? Home, no parents, relationship with his Grandmother, her going to work? The busy body neighbour? His hopes, his friend? At home by himself contact with his friend by radio? Watching the TV and the police styles, absorbing the action, the language and the actions? The binoculars? Following the police, watching Nick McKenna? at work, crashing through things, his words to the criminal? Getting the number plate - the not giving it to the police, doing a deal?

5. The car, following it to the warehouse, seeing the killers, the murder, the information, almost caught - the pigeons? Nick, the police, the deal, the staff and their exasperation? His wanting to be a policeman for a day? Rachel finally agreeing?

6. Nick, Burt Reynolds screen image, at work, the mayhem, the story of his past, and the death of his partner? Antagonism towards kids? The deal, his reluctance, taking him on the day, the badge, the handcuffs? Devon chasing the man with the bag and finding he was trying to catch his wife? Solving the problems with the quarrelling couple? His being kidded by people? The interview with the killer, taking Devon home - talk, reading him a story, the gun in the middle of the night and the glass o milk, Devon absent and his worry, exasperatedly giving him up, watching over Devon, chasing the car and rescuing him?

7. Devon and his day with Nick, his use of the language of television, his identifying with the police? The chase, the quarrelling couple? Back to school, his friends, the bullies putting him in the toilet? The visit by the gang leader? His yelling? Going to Nick’s, talking, the story? His day with Nick's friend, the radar, catching the principal and interviewing him? Nick saving him from the henchmen?

8. The henchmen going to the school, the bullies and their being handcuffed by Devon, pushed by the henchman after they had vandalised their car? Devon hiding in the car, being taken to the warehouse, the phone call to the police, the information about hundred grand? The chase, Nick on the bike, the boat, the happy ending?

9. Devon as a kid in an adults world, the antagonism towards adults, teachers? The anti-smoking? Yet the reliance on guns? Responsibility and being a kid, the impact of the media?

1.Nick, his relationship with Devon, the effect on him? The rowboat finale with Rachel?

THE LOVE SHE SOUGHT

US, 1990, 100 minutes, Colour.
Angela Lansbury, Denholm Elliott, Cynthia Nixon, Robert Proksy.
Directed by Joseph Sargent.

The Love She Sought is an engaging telemovie starring Angela Lansbury. She brings her familiar style and some feeling to the role of an ageing, unmarried school teacher in the Catholic system in Minnesota. A conservative catholic (and the telemovie brings out the themes of changes in the catholic church during the 80s very well), she has been in correspondence with a friend in Ireland. The friend is portrayed by Denholm Elliott.

On an unexpected visit to Ireland after her retirement, she discovers that her penfriend is a priest. She had been entertaining some thoughts of marriage and the shock is disillusioning. A young unmarried mother whom she had befriended is instrumental in helping her to understand and be forgiving for his not telling her. She is also helped by the rather modern bishop (whom she dislikes intensely), played with verve by Robert Prosky. The film is very effective portrait of an ageing woman, her dedication to her task of education, her regrets at not marrying, the crisis of faith and emotions. The film was directed by Joseph Sargent. veteran of many movies and telemovies.

1. Interesting and entertaining telemovie? The audience, the older audience, the stars, the issues?

2. The atmosphere of Minnesota, the town, the school, the church? The contrast with Ireland, Dublin, the country, scenery, the country towns, the musical score and atmosphere?

3. The significance of the catholic background, the changes in the church after Vatican II, the effect on the catholic education system, the presence of religious sisters in the schools, the role of the laity, changes in the liturgy, conservatives and progressives, bishops and their role - and becoming familiar with people? clerical celibacy?

4. The title and the focus on Agatha and her life and regrets?

5. The effect of the voice over technique for the letters, James and his appeal to Agatha? The bonds?

6. Angela Lansbury's portrait of Agatha Mc Gee, teaching for 43 years in the same school, being very particular, demanding with the children? Her compassion for the young yet her sternness? Her not having married, the question of the proposal, her refusal because the man was not good enough in his trade, seeing him in the street, his grandchildren? Her correcting people? The importance of the church, her declarations about her faith, stability?

7. Janet, her strong minded father, unmarried, the church and the scandal - and people looking at her? Agatha's kindness in taking her in? The birth of the child, the New Year, the double dealing about the money, Agatha confronting the business people and getting the money for Janet? The bond between Janet and Agatha, Janet imitating her, her love for Randy, the dates, the engagement, breaking it - with Janet imitating Agatha and seeing Randy through her eyes? Her love for her child?

8. Agatha and her discussions about education, exasperation with the bishop, the question of the confirmation, the bishop not wanting to do it, her visit to him and bring the children? The confirmation class? The resignation, the surprise party? The bishop and his musical instrument, When the Saints Coming Marching In? Her speech?. The possibility of going to Ireland, Lillian and her being inquisitive, trading in the ticket and taking Janet? The trip over, the bishop and his conversation, her pretending to sleep?

9. The experience of 43 years, her regrets, 5 years of letter writing, the decision to meet James, her feelings for him, meeting with him, the talking, the meal? His seeming upset? His leaving her, her puzzle? Her going to find him, asking, suddenly vested on the altar? Her leaving the church, hurt? Moving from the hotel? Janet seeking her out, comfort, understanding? The bishop and his discussions with her? His persuading her to go to the pub, finding James alone, the walk, the talking and understanding, the realisation that she would never have befriended him had she know he was a priest, forgiveness? The bond between the two, her going to Mass, receiving communion from him? The trial of faith, the crisis of emotions? Her greater understanding of God, allowing Janet to love Randy, going to the wedding?

10. James and his letters, the audience not knowing he was a priest, the genial man, photo, the visit, the enjoyment of Agatha's company yet his reserve, the puzzle? Seeing him at Mass? His own worry, the drinking, the visit of the bishop, the cooking and the comedy of the mushrooms, the visit to the doctor - and the cat not dead but pregnant? Discussing with the bishop and realizing the truth about friendship, his needs, as a priest, loneliness, celibacy? Wanting to be appreciated as a person, as a man? His going to the pub, his relationship with his brother? Agatha's finding him, the depth of their discussion? Parting as friends, the Mass and Communion, the continued letters?

11. Janet and Randy, Randy and his many jobs, his criticism of her, his decision to spend the money on the trip, the visit to Ireland, their love? The parallel to Agatha and her rejection of her fiance in the past? The wedding?

12. The bishop, the changes in the church, wanting to be called by his Christian name, his clothes, the cards, not doing the confirmations? Playing the trumpet? Organising the trip? Genial on the plane? Driving by car, giving Agatha a lift, the antagonism, his understanding? Talking about the closure of the schools? His offering her the job? Trying to find priests for his diocese? Discovering the issue about James, going to visit him, talking plainly, friendly? The meal, the mushrooms, the seemingly dead cat, the alarm, the visit to the hospital, feeling ill? The effect of his intervention? Agatha taking the job - and their continuing to spar with one another?

13. The picture of the church, the school, the nuns? The changes?

1.The humanity of the film, the experience of ageing, loneliness and love, opportunities? The significance of the title?

MRS LAMBERT REMEMBERS LOVE:

US, 1991, 100 minutes, Colour.
Ellen Burstyn, Walter Matthau.
Directed by Charles Matthau.

Mrs Lambert Remembers Love is a telemovie about ageing. It offers an opportunity for Ellen Burstyn to portray an elderly widow, caring for her grandson, the gradual deterioration of her memory, her wanting to leave home and visit old friends with her grandson. Walter Matthau as a genial and close friend of Mrs Lambert. The film is one of many telemovies of the 80s and 90s tackling problems that face an ageing population. Other films include Do You Remember Love? with Joanne Woodward coping with Alzheimer’s Disease.

1. The appeal of the telemovie? Interest? Stars? Themes?

2. The Californian town settings, the Californian countryside, the cities, San Francisco? Atmosphere, musical score?

3. The title, the focus on Mrs Lambert, her life, her memories and loss, ageing, death?.

4. Ellen Burstyn’s portrait of Lil: her age, memories of her life, her dead husband? The house, caring for Gerard? Preparing his meal and getting him up in the middle of the night? The celebration of her birthday and her giving a gift? The long friendship with Cliff? The memory lapses around the house? The visit to Gloria in the home - and the possibility for her? Cousin Mitch and his wife, her dislike of them, the question of custody of Gerard? Her decision to leave, taking Gerard with her? Taking the money, the old car? The visiting the cousins and the experience with them? The search for the bus driver of the past, going to the bus depot? The money, loosing the money? Her being hurt, run over by the truck? The resultant bed and breakfast and her uncertainty as to the rituals? The taking of the car? On the station in the middle of the night, going to San Francisco? Sharing with Gerard, the cable car, the loss of the money, her collapse? In Hospital? The visit of Cliff, his proposal? The wedding? Her dream, memories, her husband, love for her grandson, love for Cliff? Dying on the operating table - letting go and dying?

5. Gerard, the death of his parents, with his Grandmother, the small boy, at school? His dreams? Nightmares? Love for his Grandmother, caring for her? Her erratic behaviour, the lapses? Friendship with Cliff? The birthday party? Travelling with his Grandmother, his wisdom, the visit to the cousins, the question of the money, the bus depot search? Her being knocked over, the bed and breakfast? His decision to go to San Francisco? The delight in the cable car? The brochure about the old people’s home and the possibility of his going there with his Grandmother? The money and its loss, the cable car, her collapse? Cliff and the wedding? Cliff wanting to adopt him - and his concern that Cliff might die? His future?

6. Cliff as a genial elderly man, looking at the cake in the shop, baking the cake, the birthday gift? His love for Lil and concern? His dislike of Mitch and his wife? The visit to the school board and the question of the adoption? Going to the police, the search? Hospital, the proposal, the wedding? The extent of his grief and his containing it? The promise to Gerard and adopting him?

7. Mitch and his style, his wife, their plan, greed, wanting Lil's house, the visits? The inspector and the interviews? The school board? And the irony of Lil
seeing them on a dancing competition on television?

8. The portrait of the town, life at the school, the principal, the inspectors, concern about children? The police and the genial chief and his search?.

9. The people on the road, cousins, the bus depot, the truckies?

10. The hospital staff and their sharing Lil's experience, the wedding? A blend of the serious and the sentimental? Significant themes for the 90s?