OUTBREAK

US, 1995, 128 minutes, Colour.
Dustin Hoffmann, Rene Russo, Morgan Freeman, Kevin Spacey, Cuba Gooding Jnr, Donald Sutherland, Patrick Dempsey, Zakes Mokae.
Directed by Wolfgang Petersen.

Outbreak is a straightforward thriller specialising in scare tactics. It also gives Dustin Hoffman the opportunity to try out as a substitute Schwarzenegger or Stallone and he obviously enjoys himself as he leaps from helicopters and defies mad general Donald Sutherland.

A monkey smuggled into the US carries a virus which mutates and kills people within twenty-four hours. How to contain the plague? Find the source? Capture the monkey? Evade the military pursuit? Control the people? And possibly reconcile with scientist wife, Renee Russo?

The film has a strong supporting cast including Morgan Freeman and Kevin Spacey at the time that he won an Oscar for The Usual Suspects.

The film focuses on Africa and the outbreak of plagues - and the suppression of the plagues and information about them as well as the potential ruthlessness of the American military bombing a town which contained an outbreak of plague. Indications are giving of the origins of AIDS and its subsequent effect.

Direction is by Wolfgang Petersen, German director of Das Boot and Hollywood director of such films as Enemy Mine, The Never- Ending Story, In the Line of Fire, Troy.

1. An entertaining action thriller? Conspiracy theory? Critique of the military? American heroism?

2. The settings: Zaire in the 1960s, Maryland in the 1990s, California and the country town and the surrounding countryside and the isolation to contain the plague? Action sequences, special effects, helicopter chases? Musical score?

3. The prologue: Zaire, 1967, the camp, the mercenaries, the fever, the spreading illness? The Americans, the medical aid, the promises to the victims? The military operation, the air strike, the complete destruction of the camp? The mystery, the blackout on news? The devastating action of American authorities?

4. The transition to the 1990s, Maryland? Sam, his status as a military doctor, the viral research centre, his work? The clashes with his wife? His commanding officer, the investigation of a deadly fever, the return to Zaire? The discoveries, the members of the team, Major Schuler and his expertise, assisting Sam? Major Salt? The people in the village, dead and dying, the new virus, fast-acting, the devastating effect? The cross-cutting to the monkey, the jungle, the animal traders, the ship going to America, the Korean ownership?

5. The work to identify the virus, the identification of the disease, the nature of the virus and the haemorrhages it caused - and the links with the 1967 outbreak? The military cover-up? General Ford, his work with Sam, his authority, his decisions? The interactions with General McClintock? McClintock? keeping things secret, no alert?

6. The ship arriving in California, Jimbo Scott and his animal smuggling, getting the monkey? The secrecy, going to Rudy's Pet Shop, Cedar Creek? Rudy and his not wanting the animal - but it's scratching him? Jimbo and the decision to get rid of the monkey, putting it in the woods? His leaving California, the flight to Boston, his girlfriend? His collapse, Dr Keough and her examination of Jimbo and Alice? Their deaths?

7. Rudy, his collapsing, his death? The infected blood, the death of the lab assistant? The effect on him in the cinema, the drama on-screen and off-screen? The spread of the infection? Sam and his going to the town, Ford and his counter-command? The army back-up, the isolation of the town? Dr Keough and her arrival, her team, the collaboration with her husband?

8. The monkey, in the woods, Sarah finding the monkey?

9. Casey, his investigations, the discovery that the virus is mutating, that the host contains two strains, carries the antidote? The detective work for the source of the infection, the discovery of Rudy and the pet shop?

10. The presidential committee, the meeting in Washington, General Mc Clintock, his drastic information, the decision to bomb Cedar Creek, thus eliminating the virus? The antidote sent by Ford, the discovery by Sam that the illness was developed for germ warfare purposes? Casey being infected, Robbie being infected? Mc Clintock and his action, threatening Sam? Sam and his escaping with Major Salt, the hijacking of the helicopter?

11. The detective work to find the Korean ship, Sam and Salt going on the ship, the picture of the monkey, the picture on television? Sarah's mother contacting Sam, the taking of the monkey, the monkey in Cedar Creek?

12. The threat of Mc Clintock, pursuing in his helicopter? The continued work on the antidote, the patients, their treatment, the gradual recovery? McClintock? and his relentlessness, the counter-arguments by Ford, the pleading by Sam? Sam and his decision to take off in the helicopter, with Salt? The confrontation with the bomber, blocking the path? The bomb in the sea?

13. Ford, his taking a stand, placing General Mc Clintock under arrest?

14. Robbie, helped by the antidote, the reconciliation with Sam? How effective the relationship issue, contrived for melodrama between the two doctors and their work in combating the plague?

15. The plausibility of the plot, General Mc Clintock and his mind processes, decisions, drastic action, without scruple? The difference with General Ford, the more humane approach, believing in orders, believing in common sense and making decisions for a crisis?

16. Sam, Dustin Hoffmann and the dramatics, detective work to identify the disease, find its source? The American thriller heroics in the helicopter, confronting the bomber?

17. A serious thriller with strong implications - but also done with heroics and touches of irony?

OPEN RANGE

US, 2003, 139 minutes, Colour.
Robert Duvall, Kevin Costner, Annette Bening, Michael Gambon, Michael Jeter, Diego Luna, James Russo.
Directed by Kevin Costner.

After his Oscar-winning success and worldwide approval with Dances With Wolves and a number of star turns in the early 1980s, like JFK and The Bodyguard, Kevin Costner fell on hard times with his futuristic epic, Waterworld, and then his apocalyptic actioner, The Postman. He has struggled to regain his popularity. Whether Open Range will do this is uncertain. However, it is certain that this film is an achievement and restores confidence in Costner's ability as a director and in his power as a screen presence.

Open Range is a classic western (and can be compared with Ron Howard's The Missing which was released at the same time). It is the 1880s, the end of the era of the open range where cowboys can roam freely and tend their herds. Landowners are now taking possession, building barbed wire fences and protecting their interests by using gunmen to get rid of enemies and dominate the towns.

Into this setting comes The Boss, with Robert Duvall in a role that suits him perfectly. With him is a veteran cowboy who has seen grim days, Charley, played by Costner himself (who ensures that Duvall is the star and is centre film). When their hands are attacked by the gunmen of the Irishman who is the local landowner (Michael Gambon), the stage is set for a showdown. Costner evokes memories of all the OK Coral films as well as High Noon where the townspeople flee the coming danger.

The plot is more complex and has several strands including the young Mexican hand (Diego Luna), the manager of the stables who is on their side (Michael Jeter), some of the business people in the town, the sheriff who is in the pay of the landowner (James Russo), and the hired killer (Kim Coates).

The other central character is the local doctor's wife, a middle-aged woman who has given up on marriage. She is played effectively and without by Annette Bening.

Costner has re-created his town on location in Alberta, Canada. It is both stark and beautiful. Weather is important and there is a powerful storm and deluge. But it is the scenes with the cattle, the life in the bar and the stores, the shootout at the coral that are reminiscent of the past but have a strong life of their own indicating that Costner can be a fine film-maker.

1. The work of Kevin Costner, his presence in westerns? His Oscar-winning Dances With Wolves? A western for the 21st century?

2. The tradition of the western, his drawing on the tradition, High Noon, The Gunfight at the OK Corral, Heaven's Gate? The films about the open range, cattle and horses, land ownership, the fencing off of the open range?

3. The quality of the landscapes, the Canada locations, the plains the hills, the mountains, water? The title? The musical score?

4. The new town, its streets, the rain, the wet and the mud? In fine weather? The houses, the saloon, the staples? Authentic atmosphere?

5. The importance of the weather, the seasons, the fine and the wet, the fierce storm, the flood, the aftermath?

6. The free range, ownership of the land, freedom of the land, the cattle grazers, roaming the free plains? The new owners, the barbed wire images, the enclosure of the land, ownership, greed, selfishness leading to violence? The 1880s and the end of this period?

7. The portrait of Boss and his team, their coherence as a group, the bonds, travelling together, sense of family? Boss and his leadership, his relationship with Charlie, with Mose, Button? The hard work, play and games, cards, talking or not, exercising their skills, preferring to stay camping rather than go into the towns? The picture of the cowboys?

8. The crisis, Mose going to town, his becoming involved with the fight, the men and their guns, Mose in jail? The Boss and Charlie going into town, the confrontation with the sheriff, meeting Baxter and his men? The doctor and Sue? The consequences for Mose, the violence, Button and the violence? The ambush?

9. Mose, a good man, hard work? The fight in the town, his return, the doctor? Button and his place in the group, the young boy, Mexican, his learning English, cheating at cards and his being reprimanded, Charlie pushing him? His trying to please, making mistakes, away from his post, his being injured and his being tended by the doctor? Their going to Mose's funeral, Boss and his remarks about God and the kind of God who would allow such things?

10. The doctor and his help, the doctor having to go to Baxter? Sue, in the house, her strength, her views, the relationship with Charlie? Her talking, perspectives? The discovery that she was the doctor's sister? Her age, her lack of marriage prospects? Their staying the night, Charlie's dream? Her china, breaking the china? The pledge? Her help in the gunfight, being taken hostage, standing up? The doctor and his involvement? The promise to Charlie, his return, her being in the garden, a future?

11. Baxter, his Irish background, buying the land, the sense of ownership, his thugs and gunfighters, the shoot-outs? His dominating speeches? The clash with Mose? His having the sheriff in his power? Confronting the sheriff?

12. The Boss, his real name, explaining his life story, wife and child and their death from typhus? The passing of the years? His skills, his principles? His relationship with Charlie - a kind of surrogate son? His looking after Button? His going to town, his attitude towards the sheriff, the confrontations?

13. Charlie, explaining his past, his mother, the Civil War, the ten years? Taciturn? His principles? Collaboration with the Boss, trying to educate Button? Their going to town, the doctor, Sue, his dream, the breaking of the china?

14. Percy, at the stables, looking after the horses, his talk and explanation, his willingness to help, the bond with Boss and Charlie? The gunfight, his warnings and saving them? A sympathetic character?

15. The shop owner, his dog, Charlie saving him from drowning? His sons? The storekeeper, the chocolate and the cigars, spending their money, relishing the chocolate, smoking the cigars? These people helping the group during the gunfight?

16. The flood, its effect, people in the saloon, the Boss and Charlie and their meal, their return, staying with Sue, the decision to take action, confronting the sheriff and his men, the chloroform, putting them in the prison? The quiet night and the preparation for the gunfight, breakfast?

17. The day of the confrontation, the scenes of people leaving the town, Boss and his strategy, the corral, the showdown? The shoot-out? Percy's information? The gunfighter and the scenes from the past, the killing of Mose, the ambush, Boss and Charlie confronting the men thinking they were stealing the herd? The gunfighter and his quick death? The shootings, Baxter and his taking Sue, taking Button as a hostage? Button and his injuries? Boss and his being wounded? People taking sides, the people coming back, standing up against Baxter, the confrontation between Boss and Baxter, his not dying?

18. Boss and his character, Charlie - humane, talking or not, secrets, sharing names, the taste of chocolate - and the comment that they were like an old married couple? Boss and his decision to buy the saloon and settle down? Charlie and his returning for Sue?

19. The ruggedness of the west, the violence - yet sensitivity, treating people well? The western traditions and a slant on the end of an old era and the beginning of a new?

ONE PERFECT DAY

Australia, 2003, 105 minutes, Colour.
Daniel Spielman, Leeanna Walsman, Andrew Howard, Nathan Philips, Abbie Cornish, Kerry Armstrong, Frank Gallacher.
Directed by Paul Currie.

The target audience for this film would be the young clubbers, especially in big cities, who need a night out to the accompaniment of the loud music beat, flashing lights, crowded dance floors and a thriving drug culture – although this is not the perfect day of the film's title.

The film itself is something of a downer in its plot, especially with untimely deaths of young people by raw drugs.

Daniel Spielman plays Tom, a musician who is unconventional, who wants to create music of the people, incorporating the sounds of the city, of nature, of the hardships of people on the street. His opera is created in and around London and performed there. Meanwhile, back in Melbourne, his young sister is desperate to talk to him about her pregnancy, his girlfriend is working as a nurse but also hoping to be a singer. When tragedy strikes, he comes back home, makes some rash assumptions about what has been going on and gets involved in working as a DJ, creating his sound, in a vast club in the Docklands. It is run by a real screen nasty. What happens is not entirely unexpected except in terms of deaths. The relatively unknown cast carry it off with support from Kerry Armstrong as Tom's mother.

One Perfect Day is the name of the song that Alysse, Tom's girlfriend composes and sings. It is a song of 'what if…?' and 'if only…".

1.The intended audience for the film? Young adults? Clubbers? Audiences interested in popular music?

2.The title, the desire for Tom and for Alysse? The song and its lyrics? As sung by Alysse? A gift for Tom?

3.The English settings, Oxfordshire, Camden Town, London? The concert hall? The flat? The comparison with Melbourne, the flats, the clubs, ordinary homes and streets? A real world, fantasy world?

4.The significance of music, Tom and his classical training, his going out into London to get ordinary sounds and words of people, his opera? The contrast with the world of the clubs, the beat, the songs combining the beat? One perfect day?

5.The structure of the film: the introduction to Tom, his flashbacks? The introduction to Alysse, her singing? Its being reprised at the end? The introduction to Emma? The intercutting between England and Melbourne? Tom’s return, the ironies of his judgments about Alysse, her being with Hector, his being employed by Hector, the two coming together, tragedy?

6.The portrait of Tom, lying down under the train in Oxfordshire? In his flat? The rejection by the music school and the instructors? His going out with his recorder, the old lady singing in the Underground, the sounds of nature, the sounds of the city, on the bridge over the Thames? His putting all these together? His creating an opera, his performing it and the response of the audience? The Berlin director? The contrast with his own private life, away from Alysse, the irregular phone calls, Emma desperately trying to reach him, his hanging up on her before the opera? His grief on return to Australia, with his mother, the funeral? Looking at Emma’s things? The meeting with Alysse, finding the pregnancy test? His rejection of her? His trying to track down what happened to Emma, her friend the deejay? His meeting with Trigg, being invited by Hector to go to the club, play at the open-air concert? His learning the truth about Alysse, going to her, her wanting to leave? His not going? The consequences of his action? Being with her, her being drugged, at the club, her death? The plan to confront Hector, the help of Trigg, the video recording of his killing Alysse? Listening to Alysse’s music? With his mother? A future?

7.Alysse, her singing, the lyrics to the songs, the phone calls from Tom? Her work at the Alfred Hospital? The drug scene, getting the drugs from Trigg, giving them to Emma on her birthday? Their celebration? Emma’s collapse, her trying to revive her, taking her to the hospital, panicking and going? The disappointment with Tom, the pregnancy test, his rejection of her? Trigg, the job with Hector, her night with Hector, the recording? Hector and his infatuation, his hold over her? Tom’s coming to her again, the reconciliation? Her being at the outdoor concert, seeing Tom play, Hector’s jealousy, her going to him to say she was leaving, his injecting her, her collapse and death? Her final realisation in the trance on the rooftop? The pathos of her singing again, sounds filling empty spaces and her desire to sing?

8.Emma, her age, not talking to her mother, with the deejay, her verve? Going out for her birthday, looking at herself in the mirror, pregnant? With Alysse, at the club, dancing, the drugs, Hector and the mistake about the drugs, her death? Her family’s grief? The final video brought by the deejay and Tom watching it?

9.Trigg, his companion, their working for Hector, Trigg and his camera, vitality? The attitude towards Hector, his commanding them? Trigg and his love for Alysse, trying to protect her, sad with Tom’s coming, angry with Hector? The confrontation, his videoing the killing? The other henchman, being slow, naïve, but saving the day against Hector and acting with Trigg and Tom?

10.Tom’s mother, trying to talk to her daughter, her kindliness, remembering the birth? Hearing her daughter go out? Her grief at her death, the comfort of Tom, looking at the video with him?

11.The club world, the music and the beat, the nights out, the dancing, the drug scene? Hector and his role, owning the club, importing the drugs – and his henchmen making the mistakes about distribution? Trigg taking the bag, Hector seeing them scattered all over the road? Hector and his obsessions, always getting his own way, infatuated with Alysse, his finally being taken away?

12.The grim aspect of the film? Presenting the world of the thirtysomethings, the clubs and music, drugs, their dreams in life – for one perfect day?

VA, VIS ET DEVIENS (GO, SEE, BECOME)

France, 2005, 140 minutes, Colour.
Yael Abecassis, Roschdy Zem, Moshe Agazai, Moshe Abebe, Sarak M. Sabahat, Roni Hadar, Yatzhak Edgar, Rami Danom.
Directed by Radu Mihaileanu.

Radu Mihaileanu was a political refugee to France from Romania in 1980. His background is Jewish. This has been an important theme for his films, especially the award-winning Train of Life. Now he has filmed in Israel, a film of broad scope which focuses on the experience of Falasha refugees from Ethiopia to Israel in the 1980s.

Usually, a review suggests that a film could be shorter. This film, although it runs for 140 minutes, really could be longer, especially in the third and final section. Compared with the satisfying pace of the first part (which comprises half the film), the final part is extremely hurried, suggesting significant events briefly and telegramming developments rather than dramatising them fully.

Live and Become is a very worthy film and crosses all kinds of boundaries, a plea for tolerance and understanding.

The opening of the film gives some basic information about the Falashas, the people of Ethiopia who claim descendence from Solomon and the Queen of Sheba. In the 1980s and 1990s, they suffered persecution from the Ethiopian government and thousands fled the country. Many died on the way to camps in the Sudan. In the mid-80s, the United States, eventually with the help of Israel’s Mossad, airlifted many of them to Israel.

A 9 year old Christian boy is told by his mother to go with another woman and pretend that he is Jewish, Solomon, ‘Schlomo’. The film is very moving, thanks to the performance of Mosche Agazai as the young boy who experiences bewilderment at his mother’s action, confusion in a strange country with different habits for eating, sleeping and clothes, alienation although he learns Hebrew. He is adopted by a couple with two children and begins his road to becoming an Israeli.

There are some tense and funny moments as he is invited to say grace by his adopted parents who are not religious and when he cannot answer questions in rabbinical classes and gives a speech about Jesus.

The second part of the film shows Schlomo as an adolescent. He has become part of his family. A neighbouring girl is in love with him despite her bigoted father. In the third part, Schlomo is a young adult and the important events of his life including telling the truth about himself with the support of the Falasha leader who has been his source of strength for years, going to Paris to study, marrying and returning to Ethiopia to work and to find his mother are sketched very quickly.

The ending is one of those which causes problems where anti-sentimentalist audiences begrudge the happy ending all of us would wish for in real life.

Yael Abecassis, who plays the adoptive mother, was born in Morocco and lives in Israel. Roschdy Zem, on the other hand, is of Arab background living in Paris. The three actors who portray Schlomo are all Ethiopian Jews. Live and Become is truly a work of compassion and an appeal for understanding. Winner of an Ecumenical Award at the Berlin Film Festival, 2005.

1.The acclaim for the film, Israeli awards, Berlin Film Festival awards, ecumenical award? The sense of humanity?

2.The differing sensibilities: the Romanian director, his French background, the situation in Ethiopia, the film set in Israel?

3.Historical background, the Falashas? The war between Ethiopia and Eritrea? The Jews in Ethiopia, the descendants of Solomon and Sheba? Persecuted, the deal for them to escape, go to Israel, American help, the planes? The camps and the poverty, the lack of water, illness, the doctors? The migration, the Sudan, suffering, persecution and torture? Deaths? The flights to Israel?

4.Public opinion in Israel, weather the Falashas were genuine or not? Schlomo and his lies? Others? Finally some Falashas deported? The need for compassionate understanding of the refugees? Religious understanding on the part of the Israelis?

5.The use of the desert vistas, Israel and the countryside, the kibbutz? The city, homes, schools and streets? Jerusalem? The musical score and traditional music?

6.The structure of the film: the first seventy minutes with the boy Schlomo, the sequence of his adolescence, the brevity of his adult life – and the episodes going quickly, telegrammatic? The need for more amplification in the latter part?

7.The boy and his mother, in the camp, the difficult birth and the death of the child, the help of the doctor? The friendship of the other mother, giving the story to Schlomo, his own mother sending him away, slapping him? The pain for a nine-year-old? His going, looking back? The plane trip? His memories, the puzzle about his mother’s behaviour and motives, his longing for her? The return to Ethiopia at the end, the encounter with the doctor, seeing his mother, the reconciliation – and his having achieved what she wanted, to go, to see and to become?

8.The treatment of the refugees, the black Africans going to Israel? Their being accepted as religious? The plane, the arrival, the documentation, the interrogations – some genuine and some not? Schlomo and his going to the orphanage, his telling the story that he had prepared? The treatment in the orphanage, his not being at home, pining away, not eating? Not wanting to wear shoes, running away and covering so much ground? The character of a young boy, sensitivity? With the other children? The authorities and some being rough with him? His bewilderment? The kindly authorities? The discussion of the case – the meeting? The hard-headed members of the meeting, the more compassionate? The decision for him to be adopted?

9.Yael and Yoram, the decision to adopt a child, Yael’s explanation of what happened, her being unwilling, Yoram wanting to adopt a child? The other children and their attitudes – and the imprudent talk when Schlomo arrived? The meeting, the drive along the way, the countryside, his silence – yet his quick learning of the Hebrew language? His being brought into the home, his room? His inability to eat the food? The change of clothes, sleeping on the floor? The television and his going to school, the love that he experienced, Yael and her taking him by the hand, the clash and the racist taunts and her anger, his going by himself but her following? His walking barefoot home from school? The taunts, going to the rabbinical classes, his not knowing the answers – and his long speech about Jesus the Jew?

10.The rabbi’s class, the other children? His speech on Jesus? The later dispute and the explanation of texts about Genesis, Noah and his children, the blacks? Sarah and her explaining that he had a red skin? His using this in the public dispute? His opponent shaking hands, people’s acclaim, Sarah’s father and his having shut the door in his face, his not wanting to congratulate him?

11.Qes Amrah and his appearing on television, the traditional Ethiopian Jew, exercising leadership, the protests? Schlomo and his going from school, seeking him out, the bus ride, the discussions, asking him to write letters to his mother? The continued contact over the years, the friendship? Qes Amrah knowing the truth, his being a personal guide for Schlomo – and rescuing him after he was beaten up?

12.Yael and Yoram, their characters, goodwill? Yael and her understanding of Schlomo’s needs, especially the food – and her preparing it? This breaking down his resistance, the joy of the family when he began to eat? Their coping with him? The issue of religion – and his not saying the Grace? Times of anger, times of love? The brother and sister, accepting Schlomo – and the moments of jealousy?

13.Schlomo as an adolescent, with his brother and sister, at school? His friend and his writing the letters for Sarah? Her love for him, his surprise? The going out, dancing? Her father and his hostility? The preparation for the biblical dispute – his speech and the acclaim?

14.The character of Sarah, adolescent love for Schlomo, his writing the letters, her really knowing that he had written them? Going out, the father’s disapproval, the public dispute? The father and his continued hostility? The young adults, in love, the dates? His going away, the time passing, the confession to each other – and the effect on Sarah, her being hurt, Schlomo’s mother going and pleading for her to return, the burden of his secrets? The happy reconciliation? The happy marriage ceremony?

15.Schlomo as an adult, his feelings, longing for his mother, the news of the expose of some of the Falasha? His sense of guilt? His going with the prostitute in the club, his being bashed and robbed? His being rescued by Qes Amrah, telling him the truth? His decision to go away, the farewell to his family, his father’s reaction, his mother going to the airport? His time in France? Studies to be a doctor, his motivations, graduation and return?

16.The grandfather, his cheery disposition, his immediate welcome of Schlomo, his gifts over the years, his being someone that he could talk with?

17.Schlomo’s return, the proposal to Sarah, the happy marriage celebration? His telling her the secret – her reaction, the reconciliation? His decision to go to Africa – his working as a doctor, the reconciliation with his mother?

18.The emotional impact of the ending – some considering it too sentimental and manipulative, others finding it the appropriate climax to this journey and search?

PONETTE

France, 1996, 97 minutes, Colour.
Victoire Thivisol, Delphine Schiltz, Matiaz Bulow Caton, Marie Trintignant.
Directed by Jacques Doillon.

Ponette is an extraordinary achievement in terms of performances by children. Writer-director Jacques Doillon shows enormous sensitivity towards the children, capturing their language, attitudes, games they play with each other. He also coaxes performances from the children, especially Victoire Thivisol who, at the age of four, won the Best Actress award at the Venice Film Festival in 1996.

While the film is about children, it is also about death. It shows a bereaved father who finds it very difficult to cope with the death of his wife in a car accident, sounding as if he blamed her. His four-year-old daughter is grieving, wants to see her mother again, understands in some way that her mother has died and gone to Heaven. However, she pines for her mother, is cared for by a kindly aunt and a schoolteacher. She is also playing with her two little cousins who sometimes taunt her, sometimes torment her. As does another bullying boy who tells her that her mother died because she was mean.

The film shows in great detail the grief of the child, her trying to understand what is going on, her trying to cope with God language, Jesus language and her mother being in Heaven.

The film is very moving in its portrait of the children. It is also very interesting and stimulating for an adult audience to speculate on the kind of language that they would use about life after death, especially in the Christian tradition (and in the French tradition in which this film is firmly set).

Victoire Thivisol later appeared as Juliet Binoche’s daughter in the film Chocolat.

1.The appeal of the film? To adults? To children? The awards?

2.French sensibility, French countryside setting, the portrait of French families? French issues about death, about God, about the church?

3.The quality of the performances, Victoire Thivisol at the age of four and winning an award? Natural? Doillon’s screenplay and his reliance on the attitudes, speech and games of children?

4.The opening with Ponette travelling with her father, his comments about the accident, blaming his wife, Ponette being injured? The end with the father taking Ponette back after her experience in the country? The journey framework, the audience making the same journey with Ponette?

5.The opening with Ponette in the hospital, her injury? The mother’s death, the nature of the accident, her not being to blame, her being a careful driver? The portrait of the father, his anger? Ponette and her feeling some blame? Surviving? The nature of the conversation in the car?

6.The father and his reaction, his age, experience, not ready for such a tragedy? Trying to deal with Ponette? His loving Ponette, not wanting her to die, his vow with her and their spitting? His coping with her imagination, the religious issues and her (his?) forbidding about God and Jesus? His second visit, her behaviour? The end, her having visited her mother’s grave, Ponette explaining that she had seen her mother? His taking her home? Their future together?

7.Ponette, her age, her child- and infant-like experience, the impact of the accident, on herself and her injury? In the hospital, sucking her thumb? Travelling, sad, her love for her father, meeting her cousins, the care of Clare?

8.Death and the experience of death at Ponette’s age, her relationship with her mother, feeling her absence, wanting to talk with her, her dreams, her imagination? Her continually crying and withdrawing? Her listening for her mother? Clare, her kindness, her religious language, Ponette accusing her of not telling the truth after listening to her father? Mathias, his age, his stories, his affection for Ponette and showing it, stories about death? Delphine, her love, helping Ponette? Luce and her coming to visit? The boys and girls in the school, at night, the conversations? The discussions about boyfriends, playing in the schoolyard, classes – and Ponette on the margins? Her feeling sick in class and Delphine helping her? The boy saying that she was mean and that’s why her mother died? Her fight with him? Aurore and her taking Ponette to the chapel, talking about God, praying? The issues of God listening?

9.Ponette at home with her cousins, the character of Clare, her kindness? The children and their games? The school staff?

10.The screenplay’s issues of God, death, accidents, tragedy? Prayer and God listening or not? Images of God? Language of Jesus? Language of Heaven?

11.The adults, their differing views, their help? Aurore and her character?

12.The children, the detailed attention to their language, classes, play, curiosity – and the overtones of sexuality? The role of the teachers and their help?

13.The cemetery, Ponette going, the morbid aspects of her grief, her dreams, hopes?

14.The vision of her mother at the cemetery, her mother’s character, talking to her, her love for her, helping her to cope, saying she had to go, describing her accident? Ponette being able to cope with her mother’s leaving after this experience? Her coping for the future or not?

15.A film of sensitivity, challenge to attitudes about death, the afterlife?

DIE BLINDGAENGER

Germany, 2004, 88 minutes, Colour.
Ricarda Ramunke, Maria Rother.
Directed by Bernd Sahling.

Die Blindgaenger won several awards at children’s film festivals. It focuses on two blind orphans, Maria and Inger. The film details the way of life in the orphanage in which they live, dormitories, dining rooms, classrooms etc. It shows some sympathetic staff and some demanding staff.

However, Maria has a talent for music, playing the violin. Inger has a talent for playing brass instruments. Together they practise, run away, form a band with another boy, go into a competition – and win.

The film is one of those uplifting films for children, highlighting that no matter how difficult the handicap, when talent and gifts are fostered, success is possible. The two young girls give very sympathetic performances – and the film sets its story firmly in the German countryside. However, it has universal appeal.

1.A film about children, for children? Its awards?

2.The German setting, universal appeal? Handicaps, coping, overcoming difficulties, achievement? Hopes and quality of life?

3.The German setting, the landscapes, the aqueduct, the fields and the freeways? The audience seeing the beauty – the children not seeing it? The musical score – performance, the final prize-winning song?

4.The opening, Maria walking, the audience discovering that she was blind? Her ability to cope, track her way along the wall, jump over obstacles, sitting down and waiting? Her place in the school, no family, her friendship with Inger, with the boys? Scenes of classrooms, the typing of the Braille? The dining room and accidents? Dormitories? Watching – listening to TV? The detail of institutional life?

5.Maria, a character, young, determined? Inger, bigger? Her instrument, playing? In trouble? Friends, the boy, his skills? Their playing together, practice? Their going out on the town – their getting money, begging, dressing up as clowns?

6.The truck stop, Maria’s bewilderment, her being saved? Her friend, the bond – and his farewell?

7.The portrait of the staff, in the classroom, the Braille typing, Inger cheating? Supervision, accidents in the dining room, the authorities?

8.Karl, pleasant, supportive, his camera? Making the video?

9.The music, playing, Maria and her skills, the group? The title of their group and the title of the film?

10.The competition, playing? The group listening to the television, the television style, the announcement, the win?

11.The song, happiness? The children’s talent?

12.The importance of discovering talent, fostering it for achievement?

PROMISIUNI (PROMISES)

Romania, 1985, 90 minutes, Colour.
Medeea Marinescu, Maria Ploae, Mercea Diaconu.
Directed by Elisabeta Bostan.

Promises was made during the communist regime in Romania. However, it has no references to the regime, for or against. Rather, it is a family and human drama which transcends it particular time and place.

The film focuses on a young girl, aged 12, the eldest daughter in a loving family. Her mother, however, has a secret. She had a brief affair with an artist and her daughter is the offspring of the artist. She has never told her husband. There comes a time when the secret is revealed and the film focuses on the effect on the young girl, especially after the long flashbacks showing the happiness in the family.

The film has a feminine perspective on life, a focus on relationships rather than the harder edges of the question. This means that it has a very broad appeal to a wide audience.

The film offers a great deal of pathos, especially in the performance of Maria Ploae as the mother, a loving but rather reserved figure. The film also shows strongly the effect on the father and his having to cope with the news – compared with the rather detached information of the birth father.

The film also makes parallels between the loving family and the family of the birth father whose wife is the teacher of two girls who in fact are sisters.

The film raises the issues of secrets and lies in family and whether it is better to tell the truth or conceal it.

1.A Romanian story, universal appeal? A film of the 1980s? Its not being political? Family themes, social themes? The focus on children and the effects of secrets and lies?

2.The scenes of home life, happiness? School? The studios? The musical score?

3.The tone of the film, the feminine perspective, the emotional impact, for a wide audience?

4.The opening, the anger of the young girl, the clash with her mother? This situation for the flashbacks? Filling in the story of the family, the mother, the girl? Returning to the crisis again – and then the resolution of the crisis?

5.The story of the young girl, the flashbacks to her mother and the relationship with the artist? Her pregnancy? The mother’s marriage and her not telling the husband? The little girl born, loved? Feeling at home in the family, with her brothers? The filling in of detail of life at home, going out, the picnics, at school (and the irony of her half-sister)? Picnics? The music, the piano, the singing, the studios and the audition? Her growing up, achievement? The impact of the truth, her angry reaction, her being hurt? Her attitude towards her mother, the visit of the birth father, feeling alienated from him? Her family father, the bonds with him? The fashion show, the family watching outside the window, the forgiveness and reconciliation? Her future?

6.The portrait of the mother, her memories, the artist, giving birth, the wedding, her not telling her husband? At work in the shop? Her bringing up her children, her gentleness with them? Sharing their experiences? The truth, her daughter being hurt? The reaction of her husband and the pain for her? The encounter with the birth father, his reaction, harshness? The end and the fashion parade, her looking through the window, her experiencing love and forgiveness?

7.The birth father, his wife, the house, the mother-in-law and her dominance, the children? At work, his friends? The truth about his daughter, the meeting the mother, the daughter, his severer attitudes? His being rejected?

8.The father at home, loving, his work? His doting on his children, the outings? His rejoicing in their success? His reaction to the news, his being hurt, with his daughter, the other children? His coming to terms, dealing with the problem, the finale outside the window at the fashion show?

9.The focus on children, happiness, growing up, the potential for hurt and having to cope?

10.Audience response to the issues of secrets, truth, lies, cover-up? Decisions made – and the later consequences?

MARY HIGGINS CLARK'S PRETEND YOU DON'T SEE HER

Canada, 2001, 90 minutes, Colour.
Emma Sams, Heines Janecke, Burr Starr.
Directed by Rene Berrier.

Pretend You Don't See her comes from the lyrics of a Jerry Vale song. Many of Mary Higgins Clark’s novels have the titles of lyrics from popular songs. Mary Higgins Clark is a popular author – something of an American equivalent of Agatha Christie with her Miss Marple stories.

The film is set in New York City, focuses on a real estate agent, a hit-run murder of a stage star on Broadway, the reactions of her mother – and the emergence of a web of deceit. The estate agent is drawn into investigation after she witnesses a murder and is put into the witness protection program.

The film begins in a stilted and rather stolid way, very reminiscent of television soap opera and its styles (the director coming from television). As the plot unfolds, the writing and the acting become steadier – and inviting its audience to explore the intriguing mystery. The film’s strength is in revealing the killer earlier on and having him stalk the estate agent, trying to find her (successfully) when she enters into the witness protection program.

Entertaining, average romantic mystery drama.

1.The popularity of Mary Higgins Clark’s stories, their style and tone? Mysteries that are suitable for all, suitable for television?

2.The New York settings, the transfer to Minneapolis? Affluent society, offices and homes? Restaurants? The contrast with Minneapolis, apartments, the gym? The musical score?

3.The title, the Jerry Vale song and its being sung? The references to Lacey, her experiences?

4.The focus on Lacey, her personality? Her work, skills? The meeting with Chantal, the selling of the house, the discussions, her listening to Chantal’s grief? Her meeting Blake, trying to sell the house? The return, the witnessing of the killing, seeing Blake? Getting the excerpts from the diary, taking them to Jimmy? Sloan, his help, the interrogations? Her not giving him the information immediately? The threats, going into the witness protection program? Her relationship with her sister, with her niece? Brother-in-law and his surliness? Her not wanting to go, the pain of the move, the details of the change? Minneapolis, the officer and his help, the weekly phone calls – and giving information to her sister which led to the tracking of her? Life in Minneapolis, alone, hearing the radio, going to the gym, meeting Ken, her fears, giving the information to Sloan? Ken and his pursuit, the truth? Blake tracking her down, the attempt on her life? Her returning to Boston and New York, tracking down the victim’s wife, the threats from Blake, Ken and the police saving the day? Her return to Minneapolis, to Ken – happy ever after? A portrait of a competent middle-aged woman?

5.Audience sharing the experience of the witness protection program, victims, lives being changed, ended, losing all one’s possessions in life, the hardships of trying to start again?

6.The basic situation, Chantal and her relationship with Heather, the hit-run, Chantal’s grief, trying to sell the apartment, reading the journal, trying to piece the pieces together, giving the information to Lacey, her being killed by Blake? Heather, her background, her relationships? Jimmy, the separation from Chantal, his restaurant and his success, wanting to go into casinos? Stephen as his right-hand man? Getting the journal, his interest in Lacey? The final phone call, the information about Hoffman, the address?

7.Lacey’s sister, the family support, the husband and his complaints? The niece and her delight with her aunt? The information, the phone calls, going to the restaurant, the Minneapolis paper?

8.Blake, as a customer, the return and the murder? The revelation of the truth about him, his false death, changing his identity, appearance? The phone calls, his pursuit of Lacey? The information, going to Minneapolis, going to the estate agents, to the gym? His following Kenneth, the confrontation, the attempted shootings? The return to New York, his not assessing Lacey’s plan properly, her going to Boston? The going to Hoffman’s, the shooting – and the police arriving? The irony of his getting witness protection?

9.Walker, at the office, the connection with Heather, his being under suspicion, the coincidences? His being used?

10.Sloan, good policeman, his squad, helping Lacey, the investigation, the phone calls? His man in Minneapolis and his being shot, recovering? Lacey’s phone calls, tracking him down, coming in to save the day?

11.Stephen, the intrigue against Jimmy, the money, the deals, using the family, murder? His being caught?

12.Popular ingredients for a popular mystery and thriller?

MARIA

Romania, 2003, 97 minutes, Colour.
Diana Dumbrava, Serban Ionescu.
Directed by Calin Peter Netzer.

Maria is a grim piece of Romanian life in the aftermath of the fall of communism.

It is based on a true story, the action taking place in 1995, the initial years of the new Romania. However, the picture is bleak, with a family trying to subsist on virtually no income. The family has seven children and the mother, Maria, is hard-pressed to look after them as well as to communicate with them. Her husband loses his job at the factory. His best friend decides to service women truck drivers who pass through Bucharest. This introduces the theme of prostitution. As Maria tries to cope, her husband gambles away their small savings and rapes her in the home corridor. When she reports this to the police, they can offer no help unless he is caught in the act.

The film is rambling, a succession of anecdotes about Maria – but this makes her decision to go into prostitution even more shocking. She is idealised at the beginning of the film, filmed almost like a Madonna. When she goes on the streets, the other prostitutes mock her. However, after an arrest, there is a sense of solidarity between the women who have to survive by this work.

There is a subplot about social protests, a Direct TV crew who photograph people receiving charity, follow Maria at a rally and then decide to film her story for the television audiences. This shames her with her children who are taunted by parents and children at school. Ultimately, she accepts the help from the television – only to die in an accident as a leering producer wants her to perform sexually for him.

There is very little hope in the film. When Maria accepts material help, there is no indication that there is any kind of moral or social help that would enable her to be reunited with her family and bring them up well. In this way the film is an indictment of post-communist society. The film won several awards at the Locarno Film Festival.

1.A Romanian slice of life? The mid-90s? The 90s seen in the retrospect of the transformation of Romania?

2.The themes, characters and universal appeal? Or too particularly Romanian?

3.The Bucharest settings, houses, hotels, the truck stops? The atmosphere of poverty? Factories and loss of work? The musical score?

4.The title, the focus on Maria? The significance of her name? Her being lit and filmed as a Madonna figure? The transformation into a Magdalene figure?

5.Maria as a person, in the park with her children, pregnant, her relationship with the children, Nicholas and his being cheeky? Giving birth? Seven children, at home, trying to cope? The poverty, lack of food? Maria as a manager?

6.The contrast with the father, his work at the balloon factory, the speech and the dismissal of the workers, the high-handed manner, the security men, the workers being ousted, the two boxes of balloons? Urging them to sell them at the fair? His drinking, his gambling, his taking the money, wasting it, thinking he would win? His time in prison? On the roof of the hotel, demanding to play, continually losing? His violent temperament? His relationship with the men, his fellow workers, his friend?

7.Maria, her refusal to give the money to her husband, the confrontations, the violent abuse, the children witnessing this? Her husband demanding the money, raping her in the corridor? Her going to the charity, the priest and his talking about poverty and the suffering of Jesus? Giving the food? Being filmed by the Direct TV? Her distributing the food, trying to communicate, Nicholas and his sense of fun, cheeky? The older daughter?

8.The picture of the men, drinking, gambling? The friend and his discussion about sex, servicing the women at the truck stop? The big Dutch woman, her exuberance, ribald sense of humour? His refusing to go with the other women, his reputation? The Dutch woman and her return? His getting the money? The husband and his not following that path? The gambling, the police? His rivals at gambling? Deciding to disappear, going away with his friend, the luxury night in the hotel?

9.Maria going to the police, her complaint, the police not able to help her?

10.Maria and the prostitutes, the possibility of getting some money, her desperation, her motivation? Going to the truck stop? Her daughter’s reaction? The effect on the children, people calling their mother a whore? Bringing clients to the house? The clients coming to the door? Going out with them? Her being with the women, their initial reaction? Their accepting her? Her going shopping with the money, bringing the goods home, happiness giving the food and planning what they could buy? The man wanting to buy her daughter?

11.The man from Turkey, his friendship with Maria, as a friend, talking, his own life, bringing the gifts for the children, their refusal? Going out with Maria – and her breaking off with him?

12.The arrest, running away, in the police station? The officer and his kindly attitude towards Maria, wanting to help? Inviting her to be filmed by the Direct TV?

13.Direct TV, the personalities, intrusive, at the political demonstration, spying on Maria getting the charity? The interview with her, following her around, her story?

14.Maria agreeing, the children’s reaction, their being taunted at school, their shame? Her daughter dressing up and imitating her mother? Maria watching the TV on the street, the significance of watching it through the bars?

15.The ending, Maria and her being taken to the station, the promise of material goods? The driver and his sexual provocation – the crash?

16.A film of Romania, of eastern Europe, of poverty, of women and their hardships, of dignity and the loss of dignity, of sexuality, reputation, hard dilemmas an choices? Material help only – and the need for spiritual and social help? A film of hope – no hope or redemption?

KOLYA

Czech Republic, 1996, 105 minutes, Colour.
Zdnek Sverak, Andrei Khalimon.
Directed by Jan Sverak.

A familiar story but done with sensitivity and insight. Writer-director, Jan Sverak, has made the film a family affair, directing his father as the crotchety musician who leads a quiet and lonely life as the Soviet empire is crumbling. For money, he enters an arranged marriage with a Russian migrant who leaves him stranded with her young son, Kolya. Of course, it is quite a mismatch, but the incidents are so delightful and the actors, young and old, seem so right that we can believe this tale of one man and a baby! I was part of the Catholic jury at the 1996 Venice Film Festival where Kolya was screened out of competition. However, it made such an impression on the jury that we gave it a special mention. Our response has been backed up by the international awards and acclaim. It is a wonderfully humane film but it also shows us background of the events in what is now the Czech Republic as it freed itself from the Soviet bloc. Strong sentiment.

The screenplay was written by its star Zdnek Sverak and was directed by the star’s son Jan Sverak who went on to make Dark Blue World.

1.A Czech industry achievement? Awards? Oscar for Best Foreign Language Film?

2.The pattern of the odd couple, strangers, bonds, friends, family? The setting of Czechoslovakia in the 1980s? The overthrow of communism?

3.The Prague settings, the countryside, the country towns? The feel of the country?

4.The musical score, Psalm 23 (and Kolya singing it at the end)? The classic pieces, the performances for funerals, concerts?

5.The plane, the window, the clouds? The framework for the film?

6.Introduction to Franta, his age, not marrying, living alone, his being sacked from the orchestra, the photo on the wall, his playing at funerals? His sexual attraction, Klara, taunting her? The phone calls to his girlfriends? His work in painting headstones? Wanting a car? Visits to his mother, her financial needs, the guttering? His brother emigrating? Her making comparisons between the two?

7.His work at the cemetery, his friendship with the undertaker, the proposal about the fake marriage, his refusal, the pressures, his mother? His decision to go ahead, the meeting with the aunt, with the prospective wife? The plan, the exchange of money? The ceremony, the separate wedding night? His character?

8.The aunt dying of a stroke, the ambulance men bringing Kolya to his apartment? His bewilderment, his previous experience of children, avoiding them, irritated by them? The language difficulties, only Czech and Russian? Kolya looking out the window? His application for Kolya to be taken away? His request of the undertaker and his wife, their being busy, the children, her giving birth? His fear of the interrogation by the police? Their taking him in, the friendly questioning, his lies, the police chief, his interrogation and threats? - the later irony that they would be supporting the overthrow of the regime?

9.Franta and Kolya and their bonding? The tea and Kolya drinking it, drawing, the bits of language, the flags on the window and their praising them? The visit of the cellist and Kolya interrupting the sexual encounter? Kolya at the funerals, listening to the psalm, watching the doors shut, his later playing the puppet show with a funeral? His drawing funerals? Buying the shoes, getting lost in the Underground? The sign with adults holding children’s hands, his holding Franta’s hand? The baths, the phone call to his grandmother with the hand shower, his weeping in the bath? His wanting his mother? Seeing the soldiers, Franta’s mother discovering he was Russian? His listening to the fairy tale on the phone and wanting it again? The portrait of the child, the portrait of the older man?

10.Franta, his life, a new start, bonding with the boy, the quiet relationship, his being upset when he was lost, not wanting to let him go? The visit of Social Services – and his wanting to change the application?

11. Klara, her singing, the sexual attraction, the visits to Franta’s apartment, her husband, helping when Kolya was ill, her final pregnancy?

12.Franta’s friends, the undertaker, the people in the orchestra, with the funerals, in the town, the friend helping him hide out – and the irony of the vision about the fall of communism? Their going to the rally in Wenceslas Square?

1. Kolya’s mother, her going to Germany, her friend in Germany? The return after the fall of communism, reunited with Kolya, his hesitation?

2.Franta watching the news, November 1989, their going to rally, rattling the keys – and the communist officials there as well?

3.Kolya and his leaving Franta, calling him Dad, the love for his mother and for Franta? In the plane, the print on the window, singing the psalm?

4.Franta, playing, the new Czechoslovakia – then the Czech Republic? The symbol of humanising the Czech people – and freedom?