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?

LADYBIRD, LADYBIRD

UK, 1994, 107 minutes, Colour.
Crissy Rock, Vladimir Vega, Ray Winstone.
Directed by Ken Loach.

Ladybird, Ladybird is one of Ken Loach’s emotional films. From his early days in the mid-60s in television onwards he was interested in social concerns, the family, the role of women in the family – Cathy Come Home, Kes, Family Life. By the 90s he had a resurgence of popularity which was to continue. He made such interesting films as Riff-Raff? and Raining Stones – once again about family. After this he made Ladybird, Ladybird.

After Ladybird, Ladybird he went on to more social-minded films, even going outside the United Kingdom with Land and Freedom about the Spanish civil war, Carla’s Song and Bread and Roses.

This film won Best Actress at the Berlin Film Festival for Crissy Rock. It is an extraordinarily powerful experience, a portrait of a woman who is described as less than intelligent and emotionally unstable. She has a desperate love for her four children – from different fathers. However, Social Services judge that she is incapable of looking after them well and take her from them. This results in even more desperation, anger, pain and abuse.

Vladimir Vegas is very good as the sympathetic refugee from Paraguay. Ray Winstone has one of his typical roles as a brutal father.

The setting is London, the focus is on the possibilities for family, the nature of love, the difficulties of responsibility in a person who is unable to cope.

1.Ken Loach, his social concerns, hard-hitting, critique of society?

2.An emotional Ken Loach film, characters, performance, situations? The audience responding emotionally, especially to Maggie, and finding that their decisions of head are different from the decisions of heart?

3.The title, the nursery rhyme, the house burnt, the children gone? What is the ladybird to do but fly away home?

4.The London settings, poorer areas, flats and estates, clubs, shelters? The range of songs, especially the karaoke performances? The musical score – and the suggestion of South America with the wind instruments focusing on Jorge?

5.The focus on Maggie, the insertion of the flashbacks, of her childhood, of her children, of her treatment?

6.The introduction to Maggie in the club, the people, the noise, the surroundings? The singers, her singing ‘The Rose’, plaintive? Jorge and his approach, his comments on her sadness, pain? Maggie and her friends, the drink with Jorge, beginning of talking and listening, leaving her purse, his crossing in front of the bus and her getting off, returning to his home, her memories and the flashbacks, the talk, her weeping? Her wanting to go, unable to get out the door, staying? The relationship?

7.The flashbacks to her childhood, the lyrical scenes, the memories of abuse, the battering of her mother? Her comments later about the abuse to herself and the influence on her life, Social Services not helping her then?

8.Sean, Mickey – and their black fathers absent? Serena and her white father absent? Their age, experiences, their love for their mother, Sean and his support of her, at home with her, shopping?

9.Simon, presenting well, his turning on her, waiting two hours, his incessant brutality? The birth of Mary? Continuing to batter Maggie, escaping to the shelter? The women and their friendship and taking her in? Her singing, locking the children in, the fire, her rushing to the hospital? Sean and his burns? His being taken away, the visit to the foster mother and Maggie’s antagonism, not wanting to drink coffee, paranoid about people playing games on her? Her hurting Sean? Her relationship with the other children, on the run with Simon, his ousting her from the mini-bus, taking the children and her never seeing them again? Her putting their photos on the wall?

10.Social Services, the shelter, wanting custody, the visits and interviews? The seriousness of the issues, the attitude of the personnel? The brutality of taking the children, the baby, the police? The court scenes, the interrogations, Maggie and her angers, Jorge trying to control her? the cross-examinations, the attitude of the judge?

11.Maggie in herself, lack of education, her promising to look after her children, loving them, her inability to do so? Her promiscuity, relationships? Need for love, repeating the patterns of abusive relationships? Her talk, anger, swearing? Her expectations? Her feeling abandoned by men?

12.Jorge and his back-story, his explanation in the court about the concern for the boy looking for his mother after she was drowned by the police? His approaching Maggie, his needs, listening to her, tenderness? His own wife and the loss of contact? Politics? Standing by Maggie, loving her? Setting up the home, the happy moments together, the jokes about the nosy neighbour? Hosing her? His going to court with her, visiting the refuge? The birth of the baby, its being taken away? His grief? Putting up with her anger? Getting the job, being away for the birth?

13.The graphic presentation of the births, the baby taken away from her in the hospital, her anger, feeling suicidal? Jorge, the summons, his getting his passport back?

14.The neighbour, unpleasant, the kids with her dog, her attack on Jorge, shouting abuse, racial? The hosing? The husband? Her testimony in court and her lies?

15.Maggie pregnant, with her friends, the scene of the birth, the authorities coming to the hospital, taking the baby, Maggie wanting to leap from the window, Jorge holding her – and her being unable to forgive him?

16.Jorge’s comment on her pain, the anger as an expression of pain?

17.The film portraying feelings of love, tenderness?

18.The final scenes with Maggie and Jorge, weeping, holding hands? The final captions about their children, family, and no contact with the previous children? Would Maggie succeed because of Jorge and his love?

19.Social Services, their doing the right thing, their manner, the law, the protection of children? Love, opportunities, limits of personalities? Justice?

SACRIFICE

US, 2000, 90 minutes, Colour.
Michael Madsen, Bokeem Woodbine, Jamie Luner, Diane Farr, Deborah Shelton, Joshua Leonard.
Directed by Mark L. Lester.

Sacrifice is a straight-to-video action film. It stars Michael Madsen, veteran of many Tarantino films including Reservoir Dogs and the Kill Bill films. It was directed by Mark L. Lester, an exploitation director who had some moments of respectability in the 1970s with such films as Stunts and in the 1980s with Class of 1984, the Stephen King adaptation Firestarter and the Schwarzenegger vehicle Commando. After this, he continued for the next twenty years or more to make small-budget action films, with the exploitative touch, most of which went straight to video and DVD release.

This film focuses on the work of a serial killer as well as on a convicted bank robber. When his daughter is one of the victims, he escapes from police custody to investigate, getting the help of the mistress of a local Mafia boss (Jamie Luner). The film echoes The Fugitive as two FBI agents pursue the robber. The boss is played by Bokeem Woodbine.

The resolution of the film is unusual and unexpected. The killer is a woman, insane, caught up in her own satanic cults – by day working in an abortion clinic even though she disapproves of abortion. She feels she has a mission to connect mother and child, by killing the mothers. There is the expected denouement and fight-out between the two.

The film is average entertainment, undemanding, but interesting on its variation on the theme of protest carried on outside abortion clinics.

1.Interesting crime thriller? Serial killings? The abortion twist? The religious emphasis and the title of the film?

2.The South settings, the states, the countryside, homes?

3.Tyler Pierce: Michael Madsen’s screen presence, as a robber, his reputation, his separation from his wife and visits to her? The interrogation by the FBI? Going to jail? The news of his daughter, the engineering of his escape? Character – last robbery, possible reform? Love for his daughter, the news, using his wits? Going to his wife and Carl? Getting the information, the connections, the police records? The gangster, meeting Naomi? Working the case, avoiding the FBI? The abortion information, the confrontation, the final dangers and the rescue of Naomi? His relationship with her – going on his own?

4.The victims, the information, the copycat killing, the abortions? Pierce’s daughter and her boyfriend, suspicions, his character?

5.The clinic, Karen working, the truth about the abortion clinic, her work? Her being the killer, mad, the religious rituals?

6.Naomi, her character, gangster’s moll, attracted to Pierce, helping, hiding him, sharing in the investigation, the final danger and the confrontation by Karen?

7.The FBI, the agents, doing their work, methodical, frustrated?

8.The plausibility of the plot, the characters, the success of the film as an action thriller? The religious overtones? The point being made about abortions, the fanaticism of anti-abortionists?

THUNDER ROCK

UK, 1943, 112 minutes, Black and white.
Michael Redgrave, Barbara Mullen, James Mason, Lilli Palmer, Finlay Currie, Frederick Valk, Frederick Cooper, Miles Malleson.
Directed by Roy Boulting.

Thunder Rock is a war effort propaganda feature from the middle of World War Two. It came out at the same time as Pimpernel Smith, The Life and Death of Colonel Blimp. In fact, though the film was made by the Boulting Brothers (Brighton Rock, I’m All Right, Jack), it is much more similar in tone to the work of Michael Powell and Emeric Pressburger. The film was based on a play by Robert Ardrey (The Territorial Imperative).

The film focuses on a journalist who has become disillusioned with people’s indifference during the 1930s, ignoring the rise of fascism. After the publication of his book, his being derided by fellow journalists, he retreats to care for a lighthouse in the Great Lakes. He is visited by his supervisor and by a friend (James Mason). He explains that he has peopled his imagination with characters from a shipwreck of almost a hundred years earlier which is commemorated in the lighthouse. The characters come alive – and serve as a conscience for the journalist, their commenting on their lives, their running away from issues, the necessity for him to practise what he preaches to them and take a stand.

The film includes footage of Hitler, has episodes in Italy and the time of Mussolini, shows people not turning up to speeches warning against the dangers of fascism, idly watching newsreels in the cinema but preferring cartoons.

The film is quite stagy – and somewhat rhetorical in its dialogue for contemporary tastes. The film is a morality play with the characters generally coming to life in the lighthouse itself, though there are some scenes towards the end on the boat before its fatal disaster.

Michael Redgrave brings great dignity to the central role and he is well supported by Finlay Currie as the captain of the ship. The film was also an early starring vehicle for Lilli Palmer.

1.The impact of the film in its time? War propaganda? British morale-boosting? In subsequent decades? Now?

2.The black and white photography, the studio sets – but the evocation of the lighthouse and its isolation? The atmospheric musical score?

3.The film based on a play, the transfer to the screen? Staginess, the rhetoric of the dialogue? The tableau of the characters and their interactions on the stage of the lighthouse?

4.The opening sequences, the office, the British cast trying to do American accents? Responsibility, ambitions? The information about David Charleston? His not cashing his cheques, his isolation? The inspector and his comment on Charleston and his perfect record at the lighthouse? Flying to the lighthouse, Streeter as the pilot, his past friendship with Charleston, their discussion, clashes, the flashbacks in which Charleston saved Streeter, especially in Italy with his aggression towards the fascists and insult to Mussolini? Streeter’s financial debts and giving him the money? Streeter going to the war in China? Charleston remaining on the lighthouse?

5.Charleston and Michael Redgrave’s screen presence, character? The flashbacks explaining his past, his success as a journalist, covering crises, in Africa, in Italy, in Germany – and his observing Hitler’s rallies? His writings, reports from around the world? His writing his book – and seeing that darkness was falling on Europe? His growing disillusionment with people and their alertness to fascism, the complacency of the British? His speech and very few in the audience, not buying his book? His going to the theatre, watching the newsreel, the audience and sleeping, kissing, eating sweets, laughing at the cartoons? His anger and his decision to isolate himself?

6.Charleston in the lighthouse, ivory tower, withdrawing? Streeter reading the inscription about the shipwreck? Charleston’s explanation about his imagination, bringing six of the characters to life? The credibility of this story, of its being visualised?

7.The morality play, Charleston in the lighthouse, conversing with the characters who exist only in his mind? The psychological dimension of fictitious characters being part of the creator?

8.The captain, his wise comment, his acting as a master of ceremonies in the interplay between Charleston and the characters? His wise comments, his interaction with the people? The memories of what actually happened, the tragedy? The build-up to the finale, Charleston and his confrontation of the truth, telling the people that they were about to die? The captain and his hesitation?

9.The characters themselves, Miss Kirby, her prim style, her running way from London, her experience? Her interactions with the others in the group?

10.Ted Briggs, his pregnant wife, wanting the doctor to help, the difficult birth, his wife’s death, his grief? The background to his life in England, his work, his many children, their deaths, people attacking him for having so many children and not caring for them? His wanting to start a new life? His anger at the doctor for failing?

11.The Kurtz family, the background of their elegant life in Vienna, society? Dr Kurtz and his experiments, trying to develop anaesthetic, failing? Deaths and the people turning against him, stoning the family? Their escape to America? The personality of Dr Kurtz, his strong speeches to Charleston? Charleston trying to persuade him that he should have persevered, not run away – and at the same time Darwin, Pasteur and Abraham Lincoln were developing ideas that would change the world within a short time? Kurtz and his response to Charleston urging him to do the same? Mrs Kurtz, her dignity, her memories, her love for her husband, daughter, having to face a new life? Melanie, young, her attraction towards Charleston, her bewilderment at what was going on, gradually realising the truth, her final words of encouragement to Charleston?

12.Charleston, his conscience, disillusionment and running away, the encounter with the characters, their jolting his conscience, making him practise what he preached, realising that human nature had the capacity to change the world?

FINGERS

US, 1978, 90 minutes, Colour.
Harvey Keitel, Tisa Farrow, Jim Brown, Michael V. Gazzo, Marian Seldes, Danny Aiello, Tanya Roberts.
Directed by James Toback.

Fingers is the second feature film by writer-director James Toback. He was to make a series of small-budget idiosyncratic films during the 80s and 90s and into the beginning of the 21st century. Examples are Love and Money, Exposed and The Pick-up Artist. In the late 90s he made Two Girls and a Guy and Black and White. His 2004 film, When Will I Be Loved, is an eccentric piece of self-indulgent film-making.

The film focuses on a character played by Harvey Keitel, son of a Mafia don, a collector of loan repayments. However, his mother has been a concert pianist and he has ambitions to be a pianist himself. He always carries around a radio to play popular songs. The film shows the contradictions in his character – the two sides fighting against each other with the violent side winning.

The film also features Jim Brown, the footballer-turned-film star in the 70s as well as Mia Farrow’s sister, Tisa. Michael V. Gazzo is the father.

The film recreates the atmosphere of New York life of the times, the isolation of the central character, his immersion in the violent society of the city. The film is interesting – although something of a portrait of evil. Fifteen years later, Abel Ferrara was to use Harvey Keitel in a more extreme presentation of this kind of character in Bad Lieutenant.

Fingers was remade in France in 2004 under the title The Beat That My Heart Skipped directed by Jacques Audiard and starring Romain Duris.

1.The classic status of the film – and the basis for a French remake? The work of James Toback, his career? His idiosyncratic film-making, his bleak outlook on life, evil characters? A perspective on American society?

2.The New York settings, the city in the 70s, apartments, clubs and restaurants?

3.The musical score, Jimmy and his playing of the classics, carrying his radio, the popular hits of the 50s and 60s? His stances on music? Expecting others to listen – and the violent incident in the restaurant? His audition before the master, his failure to play well?

4.The title, Jimmy Fingers as a collector of loans? His playing the piano? His exercising his fingers – and miming playing while listening to music? Fingers as a success, as a failure?

5.The portrait of Jimmy, Harvey Keitel’s performance? The long sequences of his playing the piano, its effect on him, his emotions and imagination? His love of music? The encounter with Carol, the sexual relationship, meeting her, following her to Dreems? Her being Dreems’s girl? The chance encounter in the hotel with Julie, the sexual relationship? Later meeting Crystal – and the threesome with Carol and Dreems? His acts of kindness towards people on the street? His meal with his father, his father giving him the job, the revelation of his career as a collector, as being hard? His going into action, his brutality in the pizza place, the confrontations, the language, the violence, his getting the money? The harder mission and his phone-calling the businessman, watching him, the relationship with Julie, the phone calls? The threats? His turning up for the rendezvous – and the thugs and the confrontation? His later meeting Butch? His returning to play the piano? His musical needs, sexual needs, violent outlets? His going to see his mother and her contempt of him? His finding his father dead and his wanting revenge? Going to the audition – and the failure of nerve, inability to play? What was he finally left with? A portrait of an evil man – with some potential for good?

6.The women in the film, in themselves, their relationship with Jimmy? His meeting Carol, following her, going home, the encounter, the driving and her considering him reckless, his hitting the car, the insurance change of cards? Later with her and with Dreems? Crystal? The chance encounter with Julie, her relationship with the gangster boss – the party his revenge? The women in themselves, relationships, promiscuous?

7.Jimmy’s father, his reputation, collector? His illness? At the restaurant, talking to Jimmy, sympathetic, wanting him to do the job, praising his skills? His being found dead? His mother, the concert pianist, in an institution, Jimmy’s visit, her hostility?

8.Dreems, his club, the clientele, Carol and Crystal? The interactions with Jimmy?

9.The Italians, the loans, gambling? Repayments, the taunting of the collector – and receiving violent results? The gangster boss, his ignoring his debts?

10.The sleazier aspects of life in New York City? Anything redemptive?

CORPSE BRIDE (TIM BURTON’S CORPSE BRIDE)

UK, 2005, 76 minutes, Colour.
Voices of: Johnny Depp, Helena Bonham Carter, Emily Watson, Tracy Ullmann, Paul Whitehouse, Joanna Lumley, Albert Finney, Richard E. Grant, Christopher Lee, Michael Gough, Jane Horrocks, Danny Elfmann.
Directed by Tim Burton and Mike Johnson.

While watching Corpse Bride and delighting in the puppets and their look, the sets and the design, the colour and movement, we are not surprised to know that Tim Burton is an artist as well as a director. This has been evident in the design of his fantasies like Beetlejuice, his Batman films, Edward Scissorhands, Sleepy Hollow – and with more touches of brightness in Charlie and the Chocolate Factory. It was also evident in the animated film he produced, The Nightmare Before Christmas. Burton is an idiosyncratic but skilful and imaginative film-maker.

Corpse Bride is very entertaining, more of an adult fantasy than one for children. It is based on an Eastern European folktale. However, it is set in a rather grimy late Victorian England where the impoverished upper class are desperate to marry off their daughter into wealth and the nouveau (and vulgar) riche are ambitious to be seen in society, even if they are fishmongers. This is all the more forceful when the parents are voiced by Albert Finney and Joanna Lumley (snobs) and Tracy Ullman and Paul Whitehouse (would-be snobs).

Poor young Victor Van Dort is a forlorn, accident-prone young man who is being set up to marry, sight unseen, Victoria Everglot. If ever true love had its difficulties, it is here between Victor and Victoria. What is worse, when he tries to rehearse his marriage vows (after being intimidated by a fearsome clergyman voiced even more fearsomely by Christopher Lee), he is overheard by a ghost, Emily, the corpse bride who has been done to death longs since by a dastardly villain (voiced by a dastardly Richard E. Grant). The scene then moves to the underworld, the haven of ghosts, which is much brighter and more colourful than life above ground.

So, a dilemma. Should Victor marry Emily who has an emotional as well as a skeletal hold on him, or should be tell her the truth and return to Emily. He is an honourable young man and tries to do the right thing – and, despite the darkness of the plot, there is a happy ending for Victor, Victoria and Emily.

Not only is this a delightful fable about honesty and true love, it is a very witty take on social mores of the nineteenth century. What consolidates the visuals is the quality of the character voices. Emily Watson is a nice and plaintiff Victoria. Helena Bonham Carter is a feisty Victoria. But, Johnny Depp (with yet another convincing British accent) brings the visual Victor truly alive as a decent young man caught in a parents’ ambitions and a corpse bride’s trap.

1.Audience expectations of an animated film directed by Tim Burton. His background as an artist? The stop-motion animation? The puppets? The story and style? Colour schemes?

2.The film based on an eastern European folk story? As adapted to late Victorian England? Universal mythology?

3.The quality of the voice cast, their characterisations, wit?

4.The impact of the visuals, the puppets themselves, their look, performance, dress, design, sets? The expression of the puppets and their movement?

5.The muted colours, the Victorian world and its drabness, the increase of colour in the realms of death and the underworld?

6.The musical score, the songs, the parents singing about the plan, the songs of death in the underworld, the wedding?

7.The 19th century and its appearance, the buildings, the streets, carriages? The contrast with Hell, the club, its brightness and the jazz? The realm of death – the forests, the river and their bleak look?

8.The jokes about death, bones and the living and the dead? The verbal humour?

9.The title and its irony – Emily’s story, her being murdered, her wanting to be married, her overhearing Victor’s proposal rehearsal, accepting him? Wanting to be a bride? Her appearance, her clothes and her veil?

10.The world of the elite and the snobs, the Everglot family? Actually poor, the arranged marriage, no love – and Maudeline and Finnis and their conversations about their own marriage, their lack of love? The pressures on Victoria to marry wealth? The contrast with the nouveau riche couple, the Van Dorts? The carriage, fishmongers, their ambitions to move into the upper class, arranged marriage for Victor? The contrast with their children, Victoria as nice, her sensitivity? Victor and his being nice as well? His personal hopes?

11.The introduction to Victor, his being accident-prone, awkward but nice? His relationship with his parents? Travelling to visit the Everglots? The visit, his clumsiness, the reaction of the Everglots – and to his parents?

12.The arranged marriage, the meeting with Victoria, the shared love of music, playing the piano? Her acceptance of his awkwardness, his embarrassment? Going to the rehearsal, the pastor, his sinister appearance, Christopher Lee’s voice? His demands, Victor’s apprehension, no being able to remember his lines? The anger of the pastor? The pastor reappearing for the marriage at the end?

13.Barkis Bittern as the villain, a 19th century cad, seeing him in shadow – and the killing of Emily? His insinuating himself into the family, the Everglots and their acceptance of him? His antagonism towards Victor?

14.Victor, gawky, the ring at the rehearsal, the vows, his going into the woods, the rehearsal, the ring and its falling on Emily’s finger, her accepting his proposal?

15.The Corpse Bride, Emily and her character, strong personality, her story about her murder, the audience seeing the shadow of Barkis Bittern?

16.Emily taking Victor to the underworld, the experience of the underworld, the jazz and the song, his dancing? His being honourable, wanting to honour his promises to Emily, deciding to visit Victoria, the effect on him, on Emily?

17.Going to the elder, his potions – and the joke about his needing refreshment before his spells? Going to the surface, the encounter with Victoria and her parents? His realisation of his love for Victoria?

18.The vows and his pledge, Emily and the opportunity? Her sacrificing herself after seeing Victoria? Her changing into a butterfly – and the butterfly motif for the beginning of the film?

19.Barkis, the wedding ceremony, Victoria to marry him? His brutality, his being exposed, his toast and drinking the poison by mistake, going to the realms of death?

20.The final ceremony – and the happy ending for Victor and Victoria?

21.The film working as an animated film, as a fable, as an entertainment for children, for adults? The Grimm fairytale style and message?

GARAGE DAYS

Australia, 2002, 105 minutes, Colour.
Kick Gary, Maya Stange, Pia Miranda, Russell Dykstra, Brett Stiller, Chris Sadrinna, Andy Anderson, Marton Csokas, Tiriel Mora.
Directed by Alex Proyas.

Garage Days is a bit of relaxation for writer-director Alex Proyas. He came to some prominence with his experimental Spirits of the Air in 1989. This enabled him to go to Hollywood where he made The Crow. He returned to Australia to make the international science fiction film Dark City and, after Garage Days, returned to the United States to make I, Robot.

Proyas has said that this film is largely autobiographical, the experience of may young people when he was growing up, the interest in being in a band, singing. It also has a background of drug-taking and drink in inner-city Sydney pubs.

The film is really geared for the audience who are portrayed in the film. Kick Gary portrays a young man with ambitions – which are to be dashed as he realises that he has limited talent and is content to play in a band to entertain friends and neighbours. Pia Miranda (Looking for Allibrandi) plays his girlfriend and Maya Stange plays the pregnant girlfriend of Joe, one of the band, but attracted towards Freddie. There is some comic support from Russell Dykstra as their would-be agent Bruno and the ambiguous Chris Sadrinna as Lucy. Andy Anderson portrays the burnt-out neighbour, Kevin, and Marton Csokas gives a slimy performance as a sleazy agent.

The film contains a lot of rock 'n roll music, shows the background of the world of music and concerts – but is a southern hemisphere version of a more elaborate film like Cameron Crowe’s Almost Famous.

1.The interest in the film? The characters portrayed – as a potential audience for the film?

2.The director, his experience, the film as partly autobiographical? The film presenting young adults in the 1980s and their ambitions to be in a rock 'n roll ban and perform?

3.The Sydney settings, the inner city, flats, pubs and cafés, the concerts?

4.The musical score, the range of songs and their performance?

5.Freddie and his voice-over, his comment about himself as a child, his lack of musical talent, his ambitions? Growing up, his work in the record store? His range of friends, the band, their performances? His relationship with Tanya, taking her for granted? His sympathy for Kate and her relationship with Joe? His attraction towards Kate, kissing her – and the repercussions, especially when she announced her pregnancy? Joe and his hostility? Thommo and the pub, refusing to let them play? Bruno and his wanting to be their agent? Their going to the right place and he going to the wrong hotel? Freddie and the chance encounter with Shad Kern, saving face for him when he was caught with his singer’s girlfriend? Freddie and his going back to Shad Kern, to his office, asking for the demonstration? The need to raise money, his dressing up and going on the street to solicit money? The various schemes? The failure to get enough money? Wanting to put on a concert? Joe and his collapse, getting him to the hospital, missing the appointment with Shad Kern, the phone calls to Bruno? The break-up with Tanya and her leaving? The difficult relationship with Kate, antagonism of Joe? Lucy’s comments? The help of Kevin, his giving them the guitar to sell? The confrontation with Shad Kern, going to the concert, crashing the stage, being shunted off, the crowd calling for them to come back? Shad and his explanations to Freddie, his being overheard, his comeuppance? The performance – and the realisation that they weren't any good, the audience restless? Freddie and his acknowledgment of his limited talent, Bruno and his winning the lottery, buying the hotel, throwing out the poker machines, playing to friends? Freddie finding his place in life?

6.The members of the band, Joe, his womanising, the relationship with Angie? Drug taking? The clash with Kate, his wanting to be a good father, getting the melon and pretending to be a father? Angie as the seductress? His drug taking, his imagining Angie, the injuries, going to hospital, to rehabilitation, rejoining the band for the concert?

7.Tanya, her relationship with Freddie, her place in the band, her interactions with Lucy, the sexual encounter? Her leaving Freddie, playing in the band?

8.Bruno, loudmouthed, wanting to be an agent, answering the phone call for their wanting an agent, taking them to the wrong place? The interactions with Shad Kern, almost making things too difficult – encountering Shad and his sexual encounter and misinterpreting it? Winning the lottery, buying the hotel?

9.Lucy, ambiguous sexuality, jokes, relationship with Tanya, place in the band?

10.Kevin, his past career as a rock 'n roll singer, his guitar, supporting Freddie, giving him the guitar, willing to step in with Joe’s being away, his getting the guitar back?

11.Shad Kern, his behaviour in the hotel, his artist girlfriend, saving face with Freddie? In his office, interest in talent? His speech to Freddie about being in the music industry, drugs and women? His agreement to listen to a concert, the group not turning up, his rejection of them? At the concert, his being loudmouthed, admitting the truth, his being overheard by the singer, his comeuppance?

12.Thommo, in the bar, calling the band losers, the poker machines, getting money – and Bruno buying him out?

13.An Australian story – and rock 'n roll in Sydney?

GARDEN OF REDEMPTION

US, 1997, 95 minutes, Colour.
Anthony La Paglia, Embeth Davidtz, Dan Hedaya, Jorge Sanz, Peter Firth.
Directed by Thomas Michael Donnelly.

Garden of Redemption is a film about Italy at the end of World War Two. It focuses on an occupied village north of Florence at the time of the American invasion. The focus is on the curate in the parish, played by Anthony La Paglia. He is a dedicated man, but somewhat unsure of his vocation, especially as he is attracted by a young woman in the town (Embeth Davidtz).

There is a Resistance movement in the town and confrontation with the Nazi occupiers leading to reprisals and the death of a young Resistance fighter.

The film develops the relationship between the priest and the young woman, shows the priest becoming more involved in the Resistance movement, especially after his parish priest is taken away for giving support to the Resistance. He considers himself weak and a coward but takes the place of the young woman when she is arrested and, when she is finally captured, just as the Americans are finally arriving, they are executed. He stands in front of her to lessen the impact of the bullet and she survives.

The film was written and directed by Thomas Michael Donnelly, a screenwriter who did the screenplay for the powerful television film about the sex abuse cases in Boston and the role of Cardinal Law, Our Fathers.

1.A popular telemovie about World War Two – forty years afterwards? Memories of the Nazi occupation, of the Resistance?

2.The Italian settings, the village? The re-creation of the period of the mid-40s? The church, homes, cafés? The musical score?

3.The plausibility of the plot, the characters? In comparison with other films of this kind?

4.The Nazi occupation, the presentation of the German soldiers, some congenial, their respect for the priests, the sadistic attitudes, bashings and kickings? The pursuit of Aldo, his torture and execution? The Nazi commandant, his sinister look, his vengeance on the people? The routing of the Germans as the Americans came – yet the final execution? A caricature of the Germans or a presentation realistically?

5.Don Paolo, his age, experience, work in the parish? Playing football with the children? His relationship with the parish priest, his caution when the parish priest was helping the Resistance? His attraction towards Adriana? The gypsy and his buying the comb? His giving her the gift? The kiss? Her reaction? His continued work, the encounter with the Germans, with the Resistance? His being given the mission, his accomplishing it? His fears, the imprisonment of Adriana, his decision to take her place, her escape? Confronted by the commandant, Adriana’s recapture, his being taken out, the execution – even after the delay with the American planes flying over? His shielding Adriana, her survival? Her visiting his grave?

6.Adriana, her vitality, her relationship with Aldo? In the restaurant, the dancing, Aldo’s reaction? Her attraction towards Don Paolo, respect for him as a priest? Her being imprisoned, the escape, her being shot, her visiting Paolo’s grave?

7.The portrait of the Americans, their arrival, parachuting in, the OSS officer disguised as a priest, working with the Resistance, radio contact, the blowing up of the aqueduct as the Americans parachuted in? Captain Zito and the leadership of the Resistance?

8.The details of life in the Italian town, the experience of occupation, the continued dangers, resistance and reprisals?

GUN FOR A COWARD

US, 1957, 88 minutes, Colour.
Fred Mac Murray, Jeffrey Hunter, Janice Rule, Chill Wills, Dean Stockwell, Josephine Hutchinson, Betty Lynn, John Larch.
Directed by Abner Bibberman.

Gun for a Coward is a routine western with a strong cast. It was the kind of B‑film that Universal Studios made so often during the 1950s.

Fred Mac Murray, Jeffrey Hunter and Dean Stockwell play three brothers who are cattle ranchers. Their mother, Josephine Hutchinson, dotes on her second son, Jeffrey Hunter, and wants to take him away from the ranch. He was responsible, freezing at the age of seven, for his father’s death in being bitten by a snake. This worries him and he is considered a coward, always walking away from difficulties.

The film’s strong cast gives it a greater substance than it might otherwise have had. Mac Murray is assured as the oldest brother, Jeffrey Hunter earnest as the troubled middle brother, Dean Stockwell in his first adult role as a reckless younger sibling.

The film highlights themes of the open range, law and order in the west, clashes with the Indians, sibling rivalry.

1.Popular kind of western of the 50s? Themes?

2.The American west, the open range, the terrain, the homesteads, the town? Musical score?

3.The background of cattle ranching, building up empires, people failing, people succeeding, the groundwork for this part of American prosperity?

4.The title, the reference to Bless? His struggle with his reputation, his hesitation because of his father’s death when he was young, being reassured by Will, challenged by Hade? Love for Aud and her reticence? The build-up to the confrontation with Will? And his assuming authority?

5.The three brothers, their friendship, support of each other? Work?

6.Will, age, spending his life on the ranch, supporting his father? His being a father to his brothers? His concern about Bless, his mother’s pampering him? Worried about Hade and his irresponsibility? His love for Aud and her being promised to him? The drama on the ranch, Stringer and his deal, the celebrations? The cattle drive, the encounter with the Indians, taking Loving’s advice? Learning the truth, the confrontation with Bless, the fight? Hade’s death? His final decision to go off alone, travel, the farewell to Aud?

7.Bless, age, experience, memories of his father’s death, hard work, unable to shoot the snake threatening Hade? Aud’s love for him, their not wanting to hurt Will? The cattle drive, the encounter in the bar, trying to protect Hade? The stampede, his decision, the accusations, Hade’s death? The confrontation with Stringer, Will shooting him? The decision to go on the cattle run, Will leaving him in charge? A future with Aud?

8.Hade, young, cheeky, irresponsible? Bigoted, anti-Indian, loudmouthed, the scene in the bar, the threats? Not obeying Bless, his death?

9.Hannah, her love for her children, concern for Bless, protecting him when he was riding the rough horse? Her ignoring Hade? Wanting to leave, St Louis, Bless with her? Her illness, with Will when she died, not being able to wait for Bless?

10.Aud, her father, her being promised to Will, her love for Bless, talking with him, not wanting to hurt Will, finally telling him the truth, her father’s antagonism towards Bless, the happy ending?

11.Stringer, the other ranchers who failed, the farmhands? The rustlers and the stealing of the cattle? The stampede?

12.The encounter with the Indians, giving cattle because of passing through the land, being fair? Loving and his support of Will and advice?

13.Familiar western themes and characters – enjoyable nonetheless?

WALK THE LINE

US, 2005, 140 minutes, Colour.
Joachin Phoenix, Reese Witherspoon, Ginnifer Goodwin, Robert Patrick, Dallas Roberts.
Directed by James Mangold.

A biopic that has impressed American viewers and should travel well beyond the United States and to audiences who are not familiar with the music and story of Johnny Cash.

Walk the Line (from one of Cash’s most memorable songs, I Walk the Line) uses the framework of 2004’s successful celebrity biopic of Ray Charles, Ray. It takes a crucial moment in the singer’s life and takes us back to childhood, the beginnings of a career, success and the inevitable dependency and crash. It ends with the comeback of the singer, taking a second chance in life and career – and, as with Ray, spending more than three decades as a successful and respected entertainer. The key year for Johnny Cash was 1968 when he made a record of his concert for inmates at California’s Folsom Prison. After that, and his marriage to June Carter, he really never looked back. The film-makers have left this part of his life to his concerts, television appearances and his music.

Walk the Line has been written and directed by James Mangold. Mangold received acclaim in the mid-90s with his small-budget film, Heavy, then with his take on corrupt New Jersey police in Cop Land. He then guided Angelina Jolie to an Oscar in Girl, Interrupted. Which makes Mangold completely unpredictable in his choice of projects and skilful in a range of genres. He also made the romantic Kate and Leopold and the horror thriller, Identity. Mangold obviously likes Cash and offers us a warm portrait, despite his failings.

Joaquin Phoenix may not be the image of Johnny Cash but he brings him alive in a sympathetic performance, warts and all. Phoenix also sings all of Cash’s songs and plays the guitar in the Cash manner, quite an accomplishment. We know that Reese Witherspoon can be sassy in her Legally Blonde comedies, but here she brings a strength of character and responsibility to her charm and buoyancy as June Carter. Witherspoon also sings all the songs herself.

The film has a long running time which tends to undermine something of the impact of the drama and the music. The basic plot is so familiar from so many biopics that it does quite sustain the length. However, in all other aspects, this is an exemplary celebrity biography.

1.The popularity of biopics? Audience interest in Johnny Cash? June Carter? Music, entertainment? Troubled lives?

2.The familiar outline of the screenplay: a story showing a strong/weak character? The flashbacks and explanations of the celebrity’s life? The long running time? The difference with other films like this?

3.Audience knowledge of Johnny Cash? Americans, non-Americans? Johnny Cash and June Carter before 1968? Their quiet life and entertainment careers from 1968 to 2003?

4.The significance of the music, the Gospel music, country and western? The influence of John’s mother and her religion on him? Music and lyrics? The changes in the 1950s, Elvis Presley, Roy Orbison and other singers? The rock 'n roll developments? Rhythms? Johnny Cash and his being Memphis, the influence of Memphis and recordings?

5.Joachin Phoenix and his skill in interpretation of Cash’s character, his singing the songs himself, playing the guitar? Reece Witherspoon’s impersonation of June Carter, her own singing?

6.The sounds during the credits, entering Folsom prison, seeing the inmates, the band, Johnny Cash with the saw, the flashbacks? The return to Folsom? The triumph of the concert, the recording? His success for the subsequent thirty-five years?

7.1944, the poor home, Johnny listening to the radio, his father drinking and turning the radio off, his religious mother? The bond with his brother? The two young boys, in the room, at work? The discussion about the older boy becoming a preacher and knowing the Bible, Johnny knowing the words of the hymns? At work, the cotton fields? Johnny going fishing? The older boy working with the saw – and the suggestion of disaster, the injury, his death? The pious boy, seeing the angel? Johnny blaming himself, his father blaming him? The subsequent memories of his brother, his father’s memories and the confrontation between the two in later life?

8.The parents, at home, the father’s drinking? Johnny going off to military service and his father’s seeming disdain? Later, the father giving up the drink, the couple becoming more prosperous? The father not liking John? With Vivian, the hopes for the marriage? Admitting that Johnny was having a successful career? The scenes with June? The father’s speech at the table about gifts?

9.Johnny Cash, the background, his life, going to Germany, in the service, writing lyrics, rhymes? The phone call to Vivian and his love for her? His return home in the mid-50s?

10.Marrying Vivian, her father opposing the marriage? Love, family, the children? Vivian being used to a more affluent lifestyle? Johnny not being able to provide it? Tensions? His love for her – or not? The details of their life, the house? Johnny and his trying to do door-to-door sales and failing? His seeing June at the concert, knowing about her and having listened to her records? His reaction? The growing number of clashes with Vivian, his drinking, the pills and his prescriptions? Leaving Vivian? Later scenes with the children and with June?

11.The door-to-door work, the collage of people slamming the door in his face? Passing the studio, going in and looking, the discussions with the producer? His friendship with the mechanics, singing with them, their forming a group? Gospel songs – the audition and the producer telling him that he lacked feeling? Singing his own song, the response of the producer, cutting the record? Going home to Vivian? The increasing number of concerts, with the other celebrities including Elvis Presley, being away from home, in Texas? Seeing June, responding to her – kissing her and her reaction?

12.The success over the years, the effect on Vivian, the estrangement? The number of concerts, June and the long association, as friends, her not wanting him to kiss her? The passing of the years, the eventual sexual relationship? The aftermath? Their arguing, her stern stances about his behaviour at the concerts, with his drinking friends? Her confronting him about the pills and the drinking?

13.June as a strong character, her being in show business, her messy divorce, on the road, the strength of her career, her friendship with Johnny, resisting him in terms of kissing, the relationship? The eventual affair? Her reaction to this, her sense of responsibility?

14.The tracing of Johnny Cash’s going downhill during the 1960s, his memories, harsh, the collapse? His being rescued? The change, the influence of his father? Drying out?

15.The proposal about the concert in Folsom, the other concerts, singing ‘Ring of Fire’, praising June, the proposal on-stage, pressing her, her eventually saying yes, the response of the audience? Their marriage? The success of the concert with the prisoners – and the success of the record?

16.The familiar story of the rise and fall of a celebrity, the opportunity of a second chance? Themes of hope – and the possibility of a role model and success out of failure?