THE GROOM WORE SPURS

US, 1951, 80 minutes, Black and white.
Ginger Rogers, Jack Carson, Joan Davis, Stanley Ridges.
Directed by Richard Whorf.

The Groom Wore Spurs is a minor romantic comedy. It is a programmer, for the lower half of a double bill. The film was directed by actor-turned-director, Richard Whorf who directed Till The Clouds Roll By and Luxury Liner but who worked mainly in television.

In a way, Ginger Rogers is too good for this film. She brings a strength and vitality to her role as a hard-headed lawyer who is infatuated with a cowboy who hates being a cowboy film star. Jack Carson is the cowboy – good at the comedy but lacking any kind of charisma that might explain why a lawyer like Ginger Rogers might fall in love with him. There is supporting comedy from Joan Davis, very popular on radio and television in the 1940s.

1.The popularity of this kind of small programming film? The star power of Ginger Rogers? As romance, as comedy, as spoof? The touch of the thriller at the end?

2.The black and white photography, Los Angeles settings, Las Vegas – 1950s style? The comedy of the credits animation, the song? The song sung by Ben? Spoofing cowboys and cowboy movies?

3.The plausibility of the plot – the film star, the lawyer, immediately falling in love, disillusioned, getting back together, the murder sequence, the farce with the plane at the end?

4.Ginger Rogers as Abigail Furnival, her memories of her father, her work, with Ben Castle, the decision to go to Las Vegas, meeting Harry Kallen, forgetting the debt? Dancing, the wedding? Disillusionment with the way that Ben spoke, being used? The return home, her discussions with Alice, her roommate? Going back to the house, dismissing Mrs Forbes, the argument? Ben and his being drunk? The photo opportunities, the reporters interested in her because of her father? The contract, her standover tactics with the film producer? The murder, her going to the DA, her skill in manipulating her uncle, getting rid of the police by tricking them, going to the lawyers, finding out the possible killer? Going to the airport, the previous attentions of Steve, his helping? The farcical driving of the plane?

5.Ben, Jack Carson’s comedy style, his hating being a cowboy, not knowing much about it? The put-on talk? With A.J., the shock, going to Las Vegas, the dancing, the debt, the marriage, her walking out, his drinking, the photo opportunity, his being ignored, difficulty of getting on the horse, going to his producer, the contract, getting the sixty thousand dollars, Harry Kallen burning the cheque? The murder? His arrest, helping A.J., the plane? The happy ending?

6.Alice, the comedy of the roommate, deadpan?

7.The police, the D.A? The investigations?

8.Harry Kallen, admiring A.J’s father, forgetting the debt? His death? The murderer? The lawyers and their knowing who did the murder?

9.Steve, the pilot, in love with A.J? Ignacio, the houseboy, Asian? The ageing bellboy at the hotel, not wanting to be called boy, calling Ben cowboy?

10.How well did the various ingredients mix?

MACBETH

Australia, 2006, 109 minutes, Colour.
Sam Worthington, Victoria Hill, Lachy Hulme, Gary Sweet, Steve Bastoni, Mick Molloy, John Molloy, Mat Doran, Damian Walshe- Howling.
Directed by Geoffrey Wright.

In the early 1990s, Geoffrey Wright made a name for himself for that very energetic portrait of racism and neo-nazism in Melbourne, Romper Stomper. He followed it up with another energetic film about cars, youth and the western suburbs of Melbourne, Metal Skin. And then he went to Hollywood where he did not have great success, directing the youth slasher thriller, Cherry Falls, in the late 1990s.

Now he is back on familiar ground and has decided to follow the Baz Luhrman lead of bringing Shakespeare to the wide audience by re-locating it in the present. He has opted for Macbeth.

The text is there, although pruned and some of the soliloquies are done as voiceovers, especially moving ‘Tomorrow and tomorrow and tomorrow…’ to the end of the play while omitting ‘full of sound and fury signifying nothing’. Perhaps Wright and his co-adaptor, Victoria Hill, wanted it to signify something and not nothing.

So, the action is set amongst the drug-dealing gangs of inner city Melbourne. The text still uses the language of kings and thanes, but the film has guns and knives in the Luhrman vein. While the world of gangsters seems a suitable one for this king of violent drama, it does not provide us with a tragic hero as Shakespeare does. This Macbeth is an adventurer, a thug, a criminal who does not have a tragic flaw. Rather, he is corrupt and corruptible, ambitious, greedy and power-hungry, even if he wavers at times and is less single-minded than his wife. Sam Worthington’s performance might be considered rather slight in many ways but he probably is embodying the director’s vision of this weak, coerced and, ultimately, frantic gangster. By contrast, Victoria Hill (the co-writer) is initially icy and focused, using Macbeth and ready to step in smear Duncan’s guards with blood when Macbeth loses his nerve after his repeated slashing of Duncan. But, with Macbeth having fits as he sees Banquo’s ghost at the banquet, she starts to crack, washes the damned spot and eventually kills herself in a bloodstained bath.

Gary Sweet and Lachy Hulme are Duncan and Macduff, mob leaders who give a cynical tone to Shakespeare’s picture of the realm of Scotland. The three witches are dressed as mischievous schoolgirls and graffiti writers at the opening but later use the tradition that the witches were not old hags but young and naked women (which makes Lady Macbeth with her topless washing and wringing of her hands also a witch).

Modern equivalents are intriguing for those who wonder how the bard can be updated: tv monitors, mobile phones, motor bikes, cocaine, and a logging company called Birnam bringing its lorry load of logs, wood, to Macbeth’s mansion, Dunsinane.

A British reviewer commented on the strange accents – but, if you are going to do an Australian contemporary adaptation, this is how Macbeth and his crowd would sound.

An interesting experiment that should please experimenters but not die hard devotees.

1.The Scottish play? Popularity? The many versions? Updates? Australian setting?

2.The production values, the Australian settings, Melbourne gangland, the nights, clubs, drug deals, the mansions? Costumes and décor? The red, the dark, the lurid? The musical score?

3.The quality of the update? The setting, the characters, the voice-over of the soliloquies? The shifting of text? The pruning of the text? The Australian accent and recitation? Guns and knives, weapons? Contemporary clothes? Images such as Birnam Wood and the logs? The house of Dunsinane? The witches in school uniforms, later without them? The mirrors, smoke? The television monitors, mobile phones …?

4.The camerawork, hand-held, continual motion, the close-ups? The violence, the verve?

5.Gangland, the bosses – and no nobility, no honour among thieves? Not men of honour? The issue of whether this version was a tragedy or not? Macbeth as a flawed but noble character? Rather a corrupt and corruptible character? Deaths, greed, lust, power?

6.The witches, the schoolgirls and the suggestion of perverse sexuality? Their mischief and the graffiti? The prophecies? Seeing them later, the nudity (and Lady Macbeth’s bare-breasted soliloquy as making her a witch)? The spells, the lust, the foursome? The refusal to elaborate the prophecy about Macbeth? Macduff?

7.The opening, the deals, trust and the guards, the shootout between the gangs, Macbeth as an observer? His involvement? The acclaim? Duncan making him Lord of Cawdor? The ritual ceremony?

8.Macbeth at the club, Duncan and his sons, the various friends? Malcolm? Banquo, Macduff? The enjoyment, the victories? The decision about the visit?

9.Macbeth going home, Lady Macbeth at home? Her snorting cocaine? Strong woman, not kissing her husband? Macbeth and his strength and weakness? Decision and indecision? Ambition and unwillingness to follow it? Flat and not noble? Not a hero? Ordinary, flawed? The discussions with his wife, the plan? The welcome to Duncan and their being two-faced? The drinking, the departures? Duncan and his going to bed, the guards? Macbeth and his urge, the blood spattering and the brutal killing, his refusal to return to the corpses? Lady Macbeth, her smearing the guards? The knocking at the door in the early morning, the cleaning of themselves, washing away the blood, answering the door, going through the motions of shock, Macbeth shooting the guards? The interpretation of his behaviour – noble, passionate? Malcolm and his girlfriend, their waking, fleeing, fearing to be blamed, being blamed?

10. Macbeth and his becoming king, his life as king, socialising, satisfied? The murderers, his orders for the killing of Banquo? The bike ride, Fleance, his escaping? The brutality of Banquo’s death? The banquet, Banquo’s ghost in the mirror, Macbeth and his fits, Lady Macbeth trying to smooth over the situation, her excuses? Macbeth and his imagining Banquo strangling him?

11.The plotters, Macduff and his going away to the boat? The various lords? The murderers and their visit to Macduff’s wife, the brutality of the death of her son, her own death?

12.Lady Macbeth, the change, her dreams, the “Out, damned spot” …? The nurse, her presence in the household, the observation? Telling Macbeth? The attempts at washing – and her death in the bath?

13.The poor club, the meetings, the discussions about the death, the murderer, Fleance? The plan against Macbeth? Birnam Wood and the logs, driving to Dunsinane?

14.Macbeth, his preparing for the attack, waiting, watching? The build-up to the confrontation? The shootout? Macduff and the revelation about his birth? Macbeth, wounded, going to the bed, lying beside Lady Macbeth – and the final soliloquy of “Tomorrow and tomorrow and tomorrow”?

15.The restoration of order in the gangland world, the voice-over – and the final soliloquy?

16.The respect for the text, the poetry of the text, the additions – especially the Thane of Cawdor and his nobility in leaving the world, the recitation of the Our Father? The musical score and the text?

17.This film as another version, a contemporary interpretation of Shakespeare – and the relevance of Shakespeare and his issues to the contemporary world?

MATILDA

US, 1996, 102 minutes, Colour.
Mara Wilson, Danny De Vito, Rhea Perlman, Embeth Davidtz, Pam Ferris, Paul Reubens, Tracey Walter.
Directed by Danny De Vito.

After seeing the film, I read Roald Dahl's children's novel to see if it was as hard-edged as the film. It is. In fact, the film seems to be a quite close adaptation. Mara Wilson captures the strength of the girl who is misunderstood and ridiculed by her gauche parents (Danny de Vito, who directed the film, and his wife Rhea Perlman) but who wants to read and discuss issues intelligently. The treatment of the parents and of the alarming headmistress is enjoyably over the top (a heightened child's view), but the message is clear about the shonkiness and dishonesty of life (with spiv carsalesmen, bingo-addicts and abusive adults). Dahl's stories are not of sweetness and light. They go down very well with children. Satiric child's eye view of an awful adult world.

1.Popular with children? With adults? An adaptation of a Roald Dahl novel? Close to the novel? Roald Dahl’s edge? Child’s perspective of adults?

2.The transition to the United States? A good adaptation? The American suburbs, homes, car sales deals, bingo? The school? The real world, the child’s fantasy world? The musical score?

3.The title, the focus on Matilda Wormwood, her age, experience, not loved by her parents, out of place with her brother, her bookishness, intelligence? Her criticisms of her father and his morality? The clashes with her brother? The effect on her? Reclusiveness, reading? The telekinetic powers and their development?

4.Danny De Vito as the narrator – the third-person voice, Roald Dahl’s comment on Matilda’s life, her parents, the crises? The contrast with his performance as Harry Wormwood?

5.The portrait of the family, Danny De Vito and Rhea Perlman as real husband and wife, performing as husband and wife and parents? At home, their not welcoming Matilda, not understanding her? Harry and his life, selling cars, the deals, the deceits, wary about the police, not suspecting the boat buyers to be the FBI? Matilda and her criticism of his morality? His treatment of her, of her brother? Explaining illegal things to his son, commending him? His relationship with his wife? Her self-absorption, going to bingo? Her manner in the house? Meals, watching television? Jenny’s interruption and their reaction? Their sending Matilda to school? Their believing the worst of her? The finale, the agents in the house, their fleeing to Guam? The issue of adoption, Matilda having the papers, their signing them? The portrait of Zinnia, flighty, self-absorbed, the bingo, at home? Her regrets about her daughter – but then happily giving her up?

6.Agatha Trunchbull, the caricature of the headmistress, the Nazi look and sound, the way she was filmed, ominous, with the children, threatening Matilda? The discipline, coming into the classroom? The hall, discipline? Her drinking the glass of water – and the salamander? Her chasing Matilda? The farcical aspects of her behaviour? Her comeuppance?

7.Jenny, sympathetic, in class, friendship, defending Matilda to Agatha? Her telling the story, the flashback? Agatha being her aunt? The treatment of Jenny, her concern? Visiting the house, Harry’s reaction to her visit? The television, turning it off? Not believing Jenny’s praise of Matilda? Matilda going to visit her, their sharing ideas, reading? Jenny and her devotion to Matilda, offering to adopt her? The happy ever after?

8.The portrait of a little girl, the exercise of her telekinetic powers? The super glue on her father’s hat at the restaurant? With Miss Trunchbull? Her not having to use the powers once she was herself – and happy?

SHERRYBABY

US, 2006, 96 minutes, Colour.
Maggie Gyllenhaal, Giancarlo Esposito, Sam Bottoms, Danny Trejo, Kate Burton, Brad William Henke, Bridget Barkan, Ryan Simkins.
Directed by Laurie Collyer.

A small independent film, a brief slice of life. While it is a common and familiar story, it is acted and presented with thought and care, a stimulus for audiences to respond to and think about the characters, their hopes and their disappointments.

Basically it is a story of a 16 year old who got hooked on drugs, became pregnant, stole and finished up serving some years in jail. Now she is out, is clean (despite her cravings), has to find a place to live, get a job (especially with children with whom she works well), re-establish her relationship with her daughter who is being raised by her brother and his wife and who have become the parent figures for the little girl. She is also under the strict and fairly unsympathetic supervision of her patrol officer.

It all plays out much as you would expect. She takes up with a reformed addict whom she meets at a 12 Step meeting. Her brother wants to do the right thing but will not step in to save her if she goes back on the drugs. Her sister-in-law is sometimes helpful but has become rather possessive about the little girl. The daughter herself does not always warm to her mother.

What makes the film better than others is the effective plainness of the plot and the writing. The screenplay is well served by the cast, led by Maggie Gyllenhaal as the Sherry of the title. She won a Golden Globe nomination for this performance.

Nothing new, nor anything conclusive. Rather, a small case study presented in ordinary and humane terms.

1.The impact of the film? Portrait of a young woman? Slice of life? Social problems? Personal, family and relationship problems?

2.The authentic New Jersey, the streets, the bus, homes, schools? Musical score?

3.The opening and closing songs and their lyrics? ‘Some kind of heaven …’? ‘A meaning to my life?’

4.The title, the focus on Sherry, the quality of Maggie Gyllenhaal’s performance? The attention to detail? The complete character? On screen in every sequence?

5.The emerging back-story, home life, the absent mother, her fondness for her brother, her father, the sexual background, abuse (and his fondling her at the party)? Aged sixteen, dancing at the club, the drugs, pregnant, the baby, going to jail, not caring, no visits, on parole, doing courses in jail, the role of the bible? The group for the Drugs Anonymous?

6.The portrait of a young woman, an American woman of the 90s, family, pregnancy, child, drugs, prison, tough, self-pitying, immature and adolescent, gratification, love, learning? Sex and men, as a weapon for persuasion? Going to the group meetings? Her friends, sharing? The family and the bonds, the tension? Her skill in teaching young children? Depression, going back to the drugs, wanting to be clean, drinking? The interactions with the parole officer? Her final questions after she took Lexie for the outing? Her dilemma, her final decision, entrusting Lexie to her brother? The asking of the question for him to look after the daughter? The detox, the future?

7.The portrait of the parole officer, tough, demanding, immune to seduction, the supervision, going to her apartment, reading her correctly, making no concessions? Tough, the finale, the strict decision?

8.The hostel, the women, friendly, hostile, the room, her cleaning it, settling in, phone calls, going to the drugs meeting, Andrew and the sexual encounter, going for the job and offering the sex to the supervisor? Meeting with Dean? The relationship, sexuality, friendship? Acceptance? Their discussions, his driving her to the party, lending her the car? Her capacity for making friends?

9.The sequence of the teaching, the song with the children, ‘Happiness’? Singing it with Lexie in the car?

10.Bobby, the bond with him, the phone calls, the visit, meeting Lynette, the tension with her, her being a mother to Lexie, protective? Bringing the gifts? Lexie and her calling her mother Sherry, calling her Mummy? The interactions, the party, their not telling Sherry where the party was, arriving late, the presents, the gifts, Lexie and her tantrum? Her father? Bobby watching? Taking her out, pleading with Bobby? The experience of the day out, the meal, the accident? Lynette and her worries?

11.The outing, driving, the difficulty of taking her away, Lexie not wanting to go, scared, mellowing, singing the song, the junk food meal, wetting her pants, Sherry telling off the brutal woman with her child, the changing, returning late? The talk about Florida, taking her across the state line? The possibility of escaping to Florida?

12.The final talk with Bobby, the request? Some kind of maturity and self-awareness?

13.How well did the film track her journey, the facts, the possibilities for Sherry? Her future relationship with her daughter?

BIGGIE AND TUPAC

UK, 2002, 108 minutes, Colour.
Directed by Nick Broomfield.

Unless you are a fan of hip-hop music and have seen Tupac Shakur in his few films, then you will need to learn who Biggie and Tupac were. Biggie was rap singer Wallace Smalls (Biggie, The Notorious B.I.G) and a friend of fellow rapper, Tupac. They worked for an East LA label, Death Row Records, owned by Marion 'Suge' Knight. Tupac was murdered in Las Vegas. Six months later Biggie was also murdered. The investigations by the Los Angeles Police Department were sometimes haphazard and no arrests were made. Former police and some private investigators were so dissatisifed they proceeded with their own enquiries.

Enter famous British documentary-maker, Nick Broomfield, whose recent films had looked at Kurt Cobain and Courtney Love, serial killer, Aileen Wournos, and celebrated Hollywood madam, Heidi Fleiss. Broomfield's persistent search for information about the deaths of the singers led him to get frank on screen comments from the investigators, from bodyguards and, of all people, Suge Knight who was serving time on other charges. One reviewer commented that his manner is that of a public schoolboy diligently working on his homework assignment. Which means that the audience is involved not only in the investigation but in Broomfield's experience of the investigation, his estimation of the characters and his seemingly reckless eagerness to ask questions of dangerous people. He fills in background of the East LA gangs, the cutthroat world of record companies whose bosses can make or break careers (or lives) and the role of the police in LA. He also introduces us to Biggie Smalls' mother, a woman of dignity who will pursue the investigation into her son's death.

While we have to remain alert to understand what happened, Broomfield leads us on an exhilarating documentary chase.

1.The impact of the documentary? For an American audience? African American audience? Worldwide? Nick Broomfield and his tradition of investigation? The focus, people, detection, links, interviews, camerawork, brash style yet British reserve, spontaneous? Editing and commentary after the investigation? Investigative journalism?

2.Broomfield’s own presence in the film, as a character, interacting with people and the interviewees, the role of the crew? Emergence of truth, the lies? Trust? The visuals and the editing?

3.The backgrounds of the gangs of Los Angeles, images, information? Mobs and houses? People? The background of rap music?

4.Tupac and Biggie and rap, their own lives, styles, education, place in the gangs, the swagger, lifestyle? Friends? Their falling out? Death Row? The video scenes, the photos?

5.The Death Row sequences, business? Tupac? The sit-ups? Shuge Knight and his character, evidence? Testimony? In himself, his interviews, the website? The role of Snoop Dog?

6.The reconstruction for the video, the presentation of evidence?

7.Mrs Wallace, her presence, style, the effect, questions, the long phone call, cooking?

8.Ray, dismissed, interest?

9.The former policeman, his role, the police and these issues, the gangs?

10.The bodyguard, presenting himself, interviews?

11.The issues of corruption, the police stories, the girl?

12.Mrs Wallace, identification, the six foot seven man?

13.The role of the authorities, observing of the crime, the elements, the people, taking no action, the mystery not solved?

14.The case in itself, American gangsters, gangsters and the American music industry, the flow of money, the role of the police?

15.The value of this kind of cinema investigative journalism to open up issues – and the differences between Tupac Shakur and Biggie Smalls, the east coast-west coast rivalry, the role of hip-hop in the 1990s – and the violence of 96-97?

PTU

Hong Kong, 2003, 88 minutes, Colour.
Simon Yam, Maggie Siu, Lam Suet, Ruby Wong.
Directed by Johnny To.

Hong Kong has produced more than its fair share of police action thrillers. And director Johnnie To has made many of them. This one is considered a more personal project as his own company made it. All things considered, it is an interesting and entertaining thriller, taking place over one night, with complicated strands about the city’s gangs and gangsters as well as giving a complex picture of the police who are not above rough hand (and rough foot) tactics for getting information.

PTU is the Police Tactical Unit. We see them in action, although the more authoritative and controlled CID join in the investigation of the murder of the son of one of Hong Kong’s principal gangsters.

After PTU, Johnnie To became a director whose films were sought for festivals, especially Cannes and Venice, with such high flying entries as Breaking News, The Election series, Exiled and his collaboration with Tsui Hark and Ringo Lam, Triangle (and over the top – and beyond – version of a video game). However, PTU shows the essential Johnnie To.

1.The work of Johnny To? His police thrillers? His expertise in creating atmosphere, the work of the police, crimes?

2.The Hong Kong settings, one night, the passing of the night, the diner, the streets, the alleys? Homes? The action sequences? The musical score?

3.The title, the police tactic unit? Their work, their working together?

4.The prologue, the solidarity in the troupe (or troop?)? Loyalties to dead comrades?

5.The diner, Ponytail and his gang, the subservience of the diner owner, shifting tables for them? Sergeant Lo coming in and getting his table? The young man who was moved around? Phone calls, Sergeant Lo going out, his car being painted, the chase? His losing his gun? Ponytail sending the group out? The young man stabbing him? His going out of the café, trying to drive the car, the crash and his death? His mobile phone?

6.The complications of Ponytail’s father and his wanting vengeance on the rival gang leader? Sergeant Lo in the middle, the phone calls, the set-up at 4.00am, the two leaders trusting Lo, confronting each other? The shootout? The other gang and the young man, his being at the telephone box, the mobile phone? The shootout and their deaths?

7.Mike, his being in charge of the squad? The investigation? The CID coming in? The female officer in charge, stern? The female officer with Mike and the issue of phoning in the absent gun? The crime scene, the mobile phone, Lo making a mistake, the later discovery of the switch with the phones?

8.Mike, suspects, the brutal action of his squad? The young man with the asthma, his revival? The kicking of victims? Mike, the contact with Lo, the search for the gun?

9.Lo, going to the gun shop, changing the bought gun to be like his own? The irony of the finale where he found his gun and used it against the young man?

10.The various personalities, the various responsibilities, the PTU, the CID? The tailing of the criminals, everybody being present at the shootout? The advice to the CID officer to shoot her gun, to sound better in her report?

11.The storytelling, the action and pace, the complexities of the plot? The build-up to the confrontation and shootout? A satisfying police thriller? Hong Kong style?

OUT OF REACH

US/Poland, 2004, 88 minutes, Colour.
Steven Seagal, Ida Nowakowska, Agnieszka Wagner, Matt Schulze.
Directed by Po- Chih Leong.

Out of Reach is a 21st century Steven Seagal action film. Since he is much older, the action is limited, though he can still break bones and do a bit of fencing and sword-fighting.

In the 1980s his films were concerned with drug problems. In the 1990s he moved to such broader issues as the environment. This time he is interested in the current problem of human traffic.

He plays a former covert agent who discovers that the girl with whom he is in correspondence in Poland has been abducted. He then goes to Poland, collaborates with the local authorities, to find the girl, shut down the operation and confront the villain.

The film is standard material – a bit quiet for Seagal fans as he grows older. It was directed by British-born director Po- Chih Leong who went in the 70s to Hong Kong to set up television channels and who worked for several decades in the industry there.

1.The popularity of Steven Seagal? Character, action? Social issues? Straightforward solutions?

2.The Polish settings, the orphanage, the offices, government, the streets? Authentic? Musical score?

3.The title, William Lansing and his correspondence with Irena? Her being abducted and out of reach? His decision to find her?

4.The character of William Lansing, a Seagal character, his past, government officials wanting to bring him back in? His correspondence with Irena? His interest in the orphans? The foster program? Her abduction, his going to Poland, his using his wits, contacts? The violent tactics? The meeting with Kasia, working with her? Information from her uncle? The clues that Irena left, the code that he taught her? His tracking down the company, getting more information, the death of the director of the orphanage? His meeting the little boy, working with him, the clues? Kasia and the information, the boy, staying in Warsaw? The office, the death of the manager? Going to the dance, the prostitutes, leading Faisal astray,confronting him? The build-up to the final fights, the shootout? The African American agent? The fencing, the swordfight? The happy ending?

5.Irena, the foster program, Faisal and the abductors? Her being captured, fed, to be sold? Her leaving clues? Faisal using her to lure Lansing to him? The rescue? The little boy, the foster home, the information, friendship with Irena, information to Lansing?

6.Kasia, local authorities, strong? Information? Questioning, the shooting? The final confrontation?

7.Faisal, ruthless, the international connections? The murder and his being reprimanded by authority? His henchmen, the shooting of Kasia? The international leads, Turkish connections? The ceremony, the dance? His trying to track down William, miscalculations, the final confrontation and his death?

8.An entertaining action film – and the emphasis on social concern and social conscience about human traffic?

ARMORED

US, 2009, 89 minutes, Colour.
Matt Dillon, Jean Reno, Laurence Fishburne, Amaury Nolasco, Fred Ward, Milo Ventimiglia, Skeet Ulrich, Columbus Short, Andre Kinney.
Directed by Nimrod Antal.

If you are going to make a B-style thriller about an armoured truck robbery that has a bit more intelligence in it than just action and shoot-outs, then this is one good way to do it. It may not satisfy the blood and guts audience, but it should be of interest to those who want a thriller to have some sense in it.

And, it has a very good cast of characters actors, led by Matt Dillon as the mastermind and, ultimately, the villain. Others in the crew include Laurence Fishburne as the impetuous one, Amaury Nolasco (from TVs Prison Break) as the born-again one, Jean Reno (called Quinn despite his French accent), Skeet Ulrich as the reluctant one. Columbus Short (reminding us in look and performance of a young Don Cheadle) is the honourable one, an Iraq veteran who is taking care of his brother and is being hard pressed by the banks to repossess his house.

The plot is basically straightforward, a plan to rob the armoured truck by the security guards. As expected, something will go wrong. However, the things that go wrong are unpredictable and the film builds up quite some suspense as to how the thieves could get away with it. Each of the members is given some character development which makes the drama more interesting and the interactions more tense.

Direction is by Nimrod Antal, who spent some time in Hungary where his family came from to LA, and made the award-winning Kontrol. Back in the US, he made the terror film, Vacancy.

1.Armoured car robbery stories and their continued popularity? The crime, the perfect robbery, failure and consequences?

2.The outskirts of the city, the sense of realism? American, urban? The banks? The headquarters for the security company? The industrial area, the abandoned warehouse?

3.The mood, the editing and pace, the musical score, especially accompanying the crime?

4.The title and expectations, security guards, vans, robberies? The cases explained, the rehearsal?

5.The headquarters, briefings, the vans, storage? Duncan Ashcroft and his past experience, walking stick, his briefings, instructions? His coordination of the vehicles? The range of staff, surveillance? The search for extra jobs? The locker room, the men, the pool table? The audience immersed in this world?

6.Tyler Hackett as the focus, waking up, efficiency, the contrast with Jimmy, the younger brother, looking after him? The story, the parents and their death, the double mortgage for the house, the welfare interview, wanting to take Jimmy away, Jimmy and his art, not going to school? Jimmy and the owl painting in the house? Ty, his background, his serving in Iraq, the Silver Star? His having Mike as his godfather, the bonds with him? The setting for the drama, the emotional clashes?

7.The detail of the squad: Baines, his love for guns, drinking on the job? Palmer and his religiosity? Dobbs, quiet, the family man? Quinn, the French accent, tough? There interactions on the job? The joking at meetings? The prank for Ty, pretending they were being robbed, the elaborate set-up and its effect? The fact that it was a rehearsal for what they would do?

8.Ty and his war service, modest, the star? A man of integrity? Concerned for Jimmy? Yet the mortgages, visiting the bank that was after his house? The hot dog, walking with Mike, the proposal, his initial reaction? His thinking it over, coming late? Mike’s promises that there would be no violence?

9.The introduction of the police, of Eckehart and the hot dog? His talk about his father? Being on the job?

10.The plan, the collecting of the money, going through the procedures? Going into the warehouse, unloading? The time limits? Things going wrong with the vagrant watching them, the group chasing him, Baines shooting, Mike killing him?

11.Ty's reaction, stopping his work, going into the van, locking himself in? His choice? The group and their strategy, getting rid of the bolts and this taking time? Eckehart arriving, his being shot? Ty rescuing him, his surviving in the van? Ty and his trying to persuade Dobbs to help, Dobbs and his getting the piece for Ty? Pasting the dollars on the windows, getting out from the floor of the van, going to the roof, connecting with the police? Talking with Palmer who followed him, Palmer and his being upset, falling to his death? Quinn and his going to the house, taking Jimmy, bringing Jimmy to the van, Ty surrendering? The group going to the box with the money, Ty having set it up with explosives? Ty and his tactics, the vehicle, Mike crashing the car, running with Mike in pursuit, the leap, Mike’s car going into the hole?

12.Baines and his violence?

13.Palmer and his religiosity, killing Dobbs?

14.Dobbs, ordinary, helping Ty, his death?

15.Quinn, ambitious, getting Jimmy?

16.Eckehart, on duty, being shot, Ty treating him, hanging on, surviving?

17.The hospital, the police, Jimmy being safe? Ashcroft talking about a reward?

BLACKJACK: MURDER ARCHIVE

Australia, 2003, 89 minutes, Colour.
Colin Friels, Kate Beahan, David Field, Victoria Longley, Victoria Dykstra, Melissa Jaffer, Tina Bursill, Tony Barry.
Directed by Peter Andrikidis.

Blackjack: Murder Archive was the pilot for a series of police and detection films made by Channel Ten in Australia. The star was Colin Friels who had proven himself as a successful lead in the series Water Rats. Friels had a strong cinema background with such films as Monkey Grip, the award-winning Malcolm, Kangaroo as well as some films overseas including Dark Man and Class Action. He is supported by Kate Beahan who moved to the United States for such films as Flight Plan. David Field as the tough inspector in charge is a veteran of many Australian films and television programs. There is a strong supporting cast of character actors. The film was written by Gary Mc Caffrie and comedian Shaun Micallef. It was directed by Peter Andrikidis, who directed the films in the series, and won many awards for directing television series as well as television films.

The film concerns the abduction of a young boy in 1973 and the work of Jack Kempson, who had spoilt a sting for capturing drug dealers, and is exiled to a archives room, finds some leads and helps solve the decades-old crime.

The film has strong characters, is fast-paced and keeps the interest in police work as well as the characters (with Jack Kempson having a disabled teenage daughter).

1.An interesting police and investigation thriller? Detective work?

2.The Sydney settings, the police precincts, the offices, the archives? The streets and homes? The ordinary atmosphere of the suburbs? The musical score?

3.The title, the tone, the reference to Jack and his being a character of moods, and erratic and individualistic behaviour?

4.The opening, the little boy, his disappearance, his parents and their grief, the interrogations and press conferences? The fact that they had won the lottery? The ransom notes? The disappearance of the boy, no further demands from the kidnappers? The many decades, the mother and father and their grief, the father and his comments on his wife keeping the boy’s room as a shrine? The mother being level-headed? The father and his reaction to the further investigation? Their gratitude to Jack Kempson at the end?

5.The opening sting, Jack making a mistake, giving the signal to go, disrupting the arrangements by the other department? The reaction of the officer? The reaction of Inspector Kavanagh, Jack being demoted, sent to the archives? The scene in the bar with the angry police pouring beer over his head? The slow clapping against him in the office?

6.The archives, Julie and her work, explanations, the tension with Jack, her eventually helping him in the research? In accompanying him in the investigation and interrogations?

7.Jack, the suicide of his wife, his anger at the information being given to his daughter, his love for his daughter, her disability, her anger and upset on getting the news, his not having told her the truth? The issue of her being born or not? The flashbacks to her mother? Her carer? Reconciling with her? His relationship with Therese, the affair, her work in the police, ethics?

8.Inspector Kavanagh, tough, anti-Jack? His investigations into the abduction? Having to acknowledge Jack’s success? The range of the other police, in the archives, with Kavanagh?

9.The lead, the car, the numberplate? The finding of the accused dying in hospital, meeting with his wife, her lies? Going to the hospital, trying to get them to admit the truth, the man’s death? Carmen’s going to the roof, looking at Jack, her suicide?

10.The visit to Bueneroti, the information about the car, his work, his family? His being arrested, Jack taking him to the house? His memories?

11.The intercutting of the memories, the role of the husband and wife, the teacher and her idea, the car, pressurising Seaton? Seaton and Bueneroti, the car, the abduction of the boy, hiding him under the stairs? Bueneroti and his being unwilling? The search for the boy, discovering him dead?

12.The theme of crime not paying and integrity being rewarded?

13.A satisfying drama, television movie, police issues, crimes and solving crimes?

BREAKING THE MOULD

UK, 2009, 80 minutes, Colour.
Dominic West, Denis Lawson, Joe Armstrong, Oliver Dimsdale, Amanda Douge, Kate Fleetwood, John Sessions.
Directed by Peter Hoar.

Breaking the Mould is an interesting and straightforward docudrama, a focus on the emergence of penicillin during World War Two. It shows the story of Professor Alexander Fleming who discovered penicillin in the late 20s but was unable to produce it. The film is more the story of Professor Howard Florey, the Australian scientist who worked with the team in Oxford and discovered ways in which penicillin could be produced, made available for wide use. The film shows the struggles, the need for financial support, the behaviour of Fleming, somewhat arrogantly towards the producers of the drug, the support of Winston Churchill and the British government, the variety of experiments, failures and successes.

Dominic West is persuasive as Howard Florey. Denis Lawson is Alexander Fleming.

The film was directed by Peter Hoar, a director with many British television credits. The film recreates the atmosphere of the late 1930s, the outbreak of war, the War Effort, the role of scientists and their explorations and discoveries.

1.The title, the story of penicillin? Science, medicine? The characters? The atmosphere of the war?

2.The United Kingdom in the period? Oxford and London? The laboratories? The background of the war? The musical score?

3.The introduction, the war cabinet and meeting? The acclaim given to Fleming? The ignoring of Florey? The flashback framework of the film?

4.Howard Florey, his Australian background, wife and children, his working in science in England, 1938, Chain and the German background, the exploration of bacteria, enzymes? His life at home, the tension with his wife, her previously being a doctor, her illness, bringing up the children, his old style ideas of how a wife should be? The news of the death of the cousin? The urge to find a drug to combat illnesses? His wife’s criticism that he did not listen? The agenda for his work, the suggestion about working on chemical gases? His desire to follow through on bacteria?

5.The outbreak of war, September 1939, the government and plans, the bacteriologists? The personnel in the laboratories? The search for grants, Doctor Mellanby and his help? The slow progress? The experiments in biochemistry and pathology? The drama of exploration and discovery? The experience of success, the testing on the mice? The background of the experience of Dunkirk? The group as research scientists rather than doctors? The plan for experiments in the Radcliffe infirmary?

6.Albert Alexander, in the garden, the rose, the scratch, his serious illness, the doctor offering him as a candidate, the story of penicillin and its value, his recovery, his regression? The next experiment on the boy, the concern of his father? Improvement, experiments with the doses? Regression? The father weeping, the boy’s death? The permission for the post-mortem?

7.The war, the issues of medical espionage? Chain and his German background? The issue of patenting penicillin? Florey’s not being willing, Chain insisting? The later information that the British missed out on patenting penicillin and this was done by the Americans?

8.The family, the children in the United States, Ethel wanting a separation? Florey refusing? Her wanting to go back to work? The offer of a job in Bristol? Flory giving her the doctor’s coat? Seeing her in action and her contribution? His employing her in his experiments?

9.Alexander Fleming, his skills, his continued work, the visit to the plant, the tour? The reaction of the staff to his seeming arrogance?

10.The issue of spreading the risk, experiments, having a catalogue of successes, to persuade companies to support the discoveries? The patent issue? The extraction of more penicillin? Ethel working at the Radcliffe, the tests?

11.The inspection, Florey’s request for leaps of faith, the condemnation of spurious arguments, excuses?

12.Fleming, the issue of meningitis, the interview with the papers, his friendship with Lord Beaverbrook, the publicising of the experiments? The many letters of requests, Florey answering? The discussions with Fleming?

13.The war cabinet, the support for producing penicillin? The press conference?

14.The aftermath, Chain, Heatley (and his skill in the extraction technology)? The Nobel Prize being given to Fleming, Florey, Chain and Heatley? The lasting effect of penicillin?