MISS CONGENIALITY

US, 2000, 109 minutes, Colour.
Sandra Bullock, Michael Caine, Benjamin Bratt, Candice Bergen, Ernie Hudson, William Shatner, Heather Burns.
Directed by Donald Petrie.

Miss Congeniality proved a popular star vehicle for Sandra Bullock. During the 1990s she had emerged as a major star with such films as Speed, While You Were Sleeping, Demolition Man.

This is an enjoyable spoof of police thrillers. Sandra Bullock portrays an awkward FBI agent, who disrupts special stings, is prone to accidents – and find herself not attractive to men. She is obliged to go under cover for a beauty pageant which is being threatened by an anonymous killing. She experiences a makeover at the hands of Michael Caine – and entertaining performance by Caine as a gay stylist. Benjamin Bratt is the romantic interest, a fellow FBI agent, and Candice Bergen is the organiser of the fashion show assisted by William Shatner. Ernie Hudson is Sandra Bullock’s harassed boss. Sandra Bullock and Ernie Hudson were to appear in the entertaining sequel, five years later, Miss Congeniality 2: Armed and Dangerous.

1.A piece of popular entertainment, funny, satiric, serious?

2.The police and FBI thriller? The opening in the bar, the tension, the Russian Mafia, the pretence of the gangster, Gracie falling for it, the botching of the sting, the shooting of the agent, his survival? Her days as an undercover agent numbered?

3. The world of glamour, the Miss America pageant, the talk about it being a scholarship event? The organisers, the contestants? Gracie and her entering? The discussions with Miss Morningside and Stan? Their reluctance to have the undercover agent? Gracie and her meeting with Victor, his dismay? The details of the makeover – walking, hair, style, make-up? The talent quest, the swimsuit pageant, the interviews – and Gracie’s comment about parole sentences and world peace? The dancing? The talent – and her playing the glasses with Doctor Zhivago? Her diving on the suspect, the television interview, the wariness of Harry McDonald? Her collaborating with Eric? The pageant itself, the audience, the compere language, the kitsch aspects? The setting up the scene for the crime – and the bomb in the crown and Gracie trying to indicate this to the agents?

4.The opening with Gracie as a girl, the tomboy, her friendship with the boy, overcoming his bully, his not wanting to be defended by a girl? Her being alone? Her friendship with Eric, with the boss? The Russians and the job in the bar, her skill – and not – as an undercover agent?

5.Kathy Morningside, Candice Bergin’s style? Her being fired? The long service to the pageant, her anger – and the suspicions about her winning in the past? Stan as genial, the assistant? The interviews? Frank and his relationship to Kathy, this not being known, her bossing him about? Her poise – yet a villain? The show, the girls, the revelation of the truth, her anger and crass language?

6.Victor and his style, the stylist, his exasperation at meeting Gracie, his helping her, his success, pride, leaving the pageant, returning, her victory? Enticing her in for the Miss Congeniality award?

7.Eric, his job, promotion, in charge of the squad, the group and their watching the computer and dressing and undressing characters? The boss behind him? The martial arts sequences and Gracie beating him? His work as a detective, the interviews, collaborating with Gracie, watching the events and the dressing room on the monitor? His not being able to support her, leaving, his return? His confrontation with Frank? The final kiss?

8.Gracie and her type, with Victor, her not wanting to go through with the makeover? Harassing the boss, her theories? The interactions with Kathy, suspicions of her? Her bonding with the girls, their discussions, the girl-talk, the pizza, the dancing, the martial arts? The gun? Her diving from her performance with the water glasses? Her being left alone, following the hunch? Her performance, realising the bomb was in the crown, the fight with the winner, saving the day?

9.The personalities of the entrants, their friendship, style, platitudes – sometimes with depth, sometimes not?

10.Gracie and her being Miss Congeniality – her response to the girls and friendship?

11.The success of the formula and its leading to an amusing sequel?

OLIVER TWIST

UK/France, 2005, 130 minutes, Colour.
Ben Kingsley, Barney Clark, Leanne Rowe, Mark Strong, Jamie Foreman, Harry Eden, Edward Hardwick, Ian Mc Neice, Jeremy Swift, Frances Cugat, Alun Armstrong.
Directed by Roman Polanski.

Oliver Twist is probably the most widely known of Charles Dickens’ novels. One of his earliest, it was published in serial form in 1837, the year Queen Victoria came to the throne. The 1830s saw reform of laws concerning the poor and their support and the introduction of the parish workhouses for orphans. While reform might have been the ‘buzz-word’, the reality of life for the poor was still harsh. Dickens, a parliamentary journalist, took social reform causes to heart and made them the core of so many of his novels.

In the climate of current awareness of the abuse of children and, in so many countries, their exploitation, the story of Oliver Twist is still relevant.

For older filmgoers, there are the powerful memories of David Lean’s 1948 classic with Alec Guinness’s memorable portrait of Fagin. For both older and younger audiences, there are the memories of the film and stage versions of Lionel Bart’s musical Oliver with so many of its hummable tunes and their lyrics commenting on Dickens’ characters: Pick a Pocket or two, I’d do anything, Consider Yourself… These images influence our appreciation of any new version.

Playwright Ronald Harwood (The Dresser, Oscar for The Pianist) has streamlined the plot (omitting the story of Oliver’s mother and Dickens’ delight in coincidences). Director is Roman Polanski who has stated that he wants this to be a children’s film, a child’s view of Fagin and his gang, a touch of fantasy that is larger than life. With marvelous sets, costumes and Rachel Portman’s Dickensian score, he has created a nineteenth century London that feels authentic.

Polanski is no stranger to English literature, aside from such classics as Repulsion, Rosemary’s Baby and Chinatown, he has directed Macbeth and Thomas Hardy’s Tess for the screen.

Two problems face a director of the Oliver Twist story. The first is how to present Oliver himself. John Howard Davies for Lean and Mark Lester for Oliver were both genteel little lads with a woebegone look and manner. The danger is that Oliver becomes too sweet and, even, insipid. Here, Barney Clark’s Oliver is much stronger. We are given quite a few sequences in the workhouse and the funeral parlour where his actions show some inner fire. He is always well-mannered and appreciative with an innate goodness. But he is strong.

The other problem is how to present Fagin, especially his Jewish identity and manner. Dickens himself is said to have toned down his portrait after receiving feedback that it could be construed as anti-semitic. The same was said, and continues to be said, of Alec Guinness’ performance. While Ben Kingsley as Fagin continues the tradition, Harwood and Polanski (both Jewish) have emphasised his kindly behaviour towards Oliver (which is how Oliver sees him) as well as his ruthlessness in setting up Oliver to be killed by Bill Sykes.

Jamie Forman is less frightening than Robert Newton or Oliver Reed but his Bill Sykes is no less menacing. Leanne Rowe is younger than the usual Nancy and a reminder of how young girls were trapped in prostitution at that time. A fine group of British character actors fill out the supporting roles, chosen not for their film star appearance. Rather, the contrary, many of them look quite eccentric, even grotesque – which Dickens would have liked.

While the film has a PG rating and many of us saw Lean’s film when we were young, the subject matter and some of the treatment as well as the violence at the end might make parents wary about whether younger children might be frightened by it. It is meant to be a compliment to Polanski’s talent in bringing Dickens to life to say that they might well be frightened.

1.The popularity of the novel? Dickens’ perspective, 1837 and the state of England, social concern and reform? Dickens’ novels, serials, their impact?

2.The many versions on-screen, films and television? Audience familiarity with the story? David Lean’s version? The musical?

3.Oliver Twist for the 21st century, the situation of social reform, the abuse of children, children in different countries and the workforce? Stealing, manipulation by adults? Relevance?

4.Charles Dickens and his narrative, familiarity? The omission here of the background story of Oliver’s mother? The coincidences?

5.Polanski wanting to have a child’s view of the story and characters, the touch of fantasy, larger than life? Like and dislike of characters, especially Fagan?

6.The response of children, to the situations, Oliver’s plight, the characters, the violence?

7.The elaborate sets, the use of Prague? The workhouse, Fagan’s home, the market, the shops, the funeral parlour, Mr Brownlow’s, Toby Crackett’s house? The docks? The countryside, the country homes, the city? The 19th century? Rachel Portman’s Dickensian score?

8.An authentic atmosphere, the characters and events as real, actual rather than fiction?

9.Mr Bumble and Oliver, Oliver at ten, going to the workhouse, the system for the parish to support the orphans, the law reforms? The parish board, their huge meal, their harsh judgments, attitudes towards the orphans, the hard work of the orphans, the rope, so many of them? Their sore hands, the night and the starving boy, the gruel and the Grace by the parson, the short straw and Oliver asking for more? The supervisor’s reaction, wanting the boys to be grateful, this kind of existence for the children, no hope?

10.The board, taking Oliver to the magistrate so that he could be an apprentice to the sweep? Selling him for an apprentice? Going to the funeral parlour, the food, the fight with Noah, Charlotte and her attitude, the Sowerberrys, Mrs Sowerberry and her severity, Mr Sowerberry and his friendship, yet having to cane Oliver? Oliver in the processions, his running away?

11.Going to London, the rain, hunger, his tattered shoes, bloodied feet, the old lady who welcomed him in?

12.In the market, resting in London, the encounter with Dodger, Charlie? Watching them steal, his delight? Being taken to Fagan, part of the household, his being tired, sleeping, seeing Fagan look at his treasures? Picking Fagan’s pocket?

13.Fagan, his age, appearance, the Jewish issue and antiSemitism? His greed, his relationship with the boys, exploiting them? His treasures? Nancy and Bill? His way of life, talking to the boys? His reaction to Oliver being caught, callous and planning Oliver’s death with Bill?

14.The boys stealing, Mr Brownlow, the bookseller, the chase, Oliver caught? The magistrate and his severity, even with Mr Brownlow? The police and being more kindly? Oliver’s collapse, Mr Brownlow taking him home? Mr Brownlow and his friendliness, trust, Mr Brownlow’s friend not trusting? Giving Oliver the books, the money? Oliver in court, Nancy and Bill watching, taken back to Fagan?

15.Nancy, her age, prostitution, relationship with Bill? Not wanting to retrieve Oliver, her performance as his sister, the police station? The change of heart, hearing the plans, going to visit Mr Brownlow, the rendezvous at midnight and her trying to get out, meeting with Mr Brownlow?, the Dodger trailing her for Fagan? Bill and his bludgeoning her to death?

16.Mr Brownlow, his kindness, the housekeeper, his friend? A way of life? Trust? Going to London Bridge, the chase and recovery of Oliver, taking him to the prison to see Fagan?

17.Bill Sykes, evil, harsh, treatment of Nancy, the fencing of the stolen goods? The dog? The relationship with Dodger, the other boys? Dodger repelled by Bill’s killing Nancy, his turning against him? Bill and going to the country, hiding?

18.The robbery in the Brownlow household, Toby Crackett and his style, fashionable? Oliver being wounded, their tending his wound?

19.The dog and his role, Bill trying to drown the dog, his running away, leading people to Bill and Fagan?

20.Fagan and the boys, the escape, at Toby Crackett’s, the fears, the darkness? The police and the crowds? Getting the boys out? Fagan and his box? Bill taking Oliver, across the rooftops, the rope and his hanging?

21.Fagan, in jail, his mental collapse, Oliver’s visit, telling him about the box and giving it to him? His execution?

22.The evergreen nature of Dickens’ story, the issues, audiences identifying with Oliver? Social concern?

KINKY BOOTS

UK, 2005, 107 minutes, Colour.
Joel Edgerton, Chiwetel Ejiofor, Sarah- Jane Potts, Jemina Roper, Linda Bassett, Nick Frost, Robert Pugh.
Directed by Julian Jarrold.

An entertainingly feelgood film from the UK which leads its audience into familiar and unfamiliar worlds, makes them laugh and suggests tolerance and understanding. Perhaps clues to describe it could be ‘a 21st century version of an Ealing Studios factory comedy via Priscilla Queen of the Desert and The Full Monty’!

Two British worlds collide and co-operate. The first is the shoe factory world of Northhampton which has fallen on hard times (especially with cheap imports from Eastern European countries). The second is the world of London’s Soho clubs, especially those that feature Drag Queen performances. How do they come together? Through Kinky Boots.

Many audiences will empathise with the changed economic conditions in the UK’s manufacturing industries which lead to layoffs and redundancies. One of the answers is to find different niche markets. When Charlie Price (Joel Edgerton) tries to defend a woman being attacked in a London lane, he finds he has come to the rescue of Lola, who sings at a local club. Her stiletto heels can’t support her weight distribution. So, Northhampton moves into production of elaborate boots for transvestites and drag queens.

This is a 12A film with hardly a swear word, so the treatment of the themes is mild and benign. Lola (Chiwetel Ejiofor) is really Simon who had many problems with his gender and his father’s rejection. Ultimately, he finds a place designing in the factory. Charlie had problems being expected to fulfil his kindly father’s dreams. Kindred spirits, despite some heavy prejudice on the part of Charlie (and even more so from his fiancee), they are able to understand each other and work together.

There are plenty of flamboyant songs and choreography, especially for a grand finale showing off the boots in the Priscilla vein. There are many scenes of factory workers plying their craft, proud of their manufacturing skills. In this sense, the film is a win-win film (except for Charlie’s success-oriented fiancee – but there is a loyal worker who can take her place). It is very cheerful. It is funny, with some pathos – and hope.

1.A glimpse of contemporary England – via the comedies of Ealing Studios of the 1950s? Working class, factories? Ordinary people? Comic, social comment?

2.The title and the kinky boots of fashions of the 1960s? The film based on a true story?

3.The prologue, Simon in Clacton, the shoes, dancing, his stern father and his commands? The contrast with Northampton, Charlie and his father, the questions, the answer always being shoes? The film later taking up the theme of father-son relationships, love or not? Their wanting their sons not to stand out but to fit in?

4.The Soho settings, the clubs, the transvestites, the queens and the drag? Visual style? Costumes, décor, the performances? The singing, the choreography? The range of songs for Lola – illustrating her character and the situation? Lola’s style? The audiences in the club?

5.Audience reaction to the clubs, to Lola? The response of the audience like that of Charlie, bewilderment, engagement, criticism, change of heart? Or like Nicola and her condemnation? Or like the staff – bewildered, jokes, sympathy? The background of such films as The Adventures of Priscilla, Queen of the Desert, Tu Wong Fu(?)?

6.Northampton, the details of the factory, Mr Price, his words to the staff, farewelling Charlie to London, his hopes, Charlie not fitting in and going to study marketing, his relationship with Nicola, looking at the house in London?

7.Mr Price’s death, the effect? His photos of the office? The layout of the office and it being like an attic? The funeral? Charlie discovering the documents about the contracts, later learning that his father wanted to sell the factory? Going to London to sell the excess shoes? The encounter with Lola being bashed, his being hit, going to the club, discovering the boots, Lola’s explanation of their flimsiness, his explanation of the distribution of male weight and the need for shoes to support it?

8.The factory, the redundancy interviews, Charlie and his being hurt having to sack people? Rick and Nicola, the discovery about the selling of the factory? Charlie looking at the layout – and realising he could not sell?

9.Lauren, in the workforce, the confrontation when she was to be sacked? Ideas for niche markets, going to London with Charlie, seeing Lola? Her relationship with the staff, her devotion, Lola pointing out that she was always defending Charlie? Her telling Nicola about the mortgage? Handling the crises, going to Milan, the final kiss?

10.Charlie and his initial speech, not turning the microphone on? Lola’s arrival, his reaction, wanting to hide her? The staff all hearing their conversation? Lola’s designs? Working hard, aiming for the show in Milan, his perfectionist ideals and demands on the staff? The friendship with Simon, their discussion in the toilet, their explanation of their past? Success, production? The staff coming back to work for Milan? The restaurant sequence, the clash with Simon in the street, his blunt telling him what he thought? Finding Nicola’s shoe? His anger, Rick? Going to Milan, the phone apology? Going on the catwalk with the boots? Lola and the boys’ arrival? The kiss for Lauren?

11.Don and Lola, Lola sitting on his knee, his discovery that Lola was a man? His continued jibes, the confrontation, the arm-wrestling, Lola letting him win, his having to change his attitude towards someone – and hearing the discussion about the mortgage and changing his mind on Charlie? Getting the staff back to work?

12.George, the veteran, his idea of how to make the boots? Mel, her toughness, exasperation with Charlie? The big man discussing with Lola what femininity was? The workplace, the range of workers, their learning how to make the boots, learning to accept Lola, the finale in the club?

13.The two worlds meeting, ordinary factory workers and the drag queens? Lola as Simon, his frank talk with Charlie, changing into men’s clothes, working, his exuberance and dancing, getting the staff to dance? His fears, the scenes of the memories of his father? His being hurt by Charlie’s bluntness?

14.The crisis, the big display in Milan, the happy ending?

15.The film’s feelgood approach, its praise of people with craft, the workers? Social comment for the 21st century?

HER DEADLY RIVAL

US, 1995, 90 minutes, Colour.
Harry Hamlyn, Annie Potts, Lisa Zane, Roma Maffia.
Directed by James Heyman.

Her Deadly Rival is a film about multiple personalities – although audiences might have guessed that something like this was at the core of the plot, the revelation does not come until the end. Harry Hamlyn is an ordinary husband, in love with his wife, stalked by a mysterious woman on the phone who threatens to wreck his marriage and life. He confides in his wife when she comes to stay with him in another city where he works, she is suspicious, moody, gets help from her sister-in-law. Eventually, it is revealed that the wife has multiple personality and she is the stalker. Her finally cannot bring himself to believe this.

Harry Hamlyn has appeared in many similar telemovies. Annie Potts is the wife of the director, James Heyman. Roma Maffia has a strong role as the police investigator.

The film is in the vein of many of the multiple personality films including The Three Faces of Eve with Joanne Woodward, and Sybil with Sally Field.

1.An entertaining telemovie? Domestic drama? Marriage drama? Psychological drama?

2.The city locations, the workplaces, homes, construction sites? Authentic locations? Musical score?

3.The situation of the marriage, twelve years, the love for each other? Jim and his having to transfer his work, Kris being by herself, coming to live with him? The stalking situation?

4.The framework of the film: Jim waking in the night, hearing Kris and the struggle, the shooting? The interspersing of the interviews with Officer Caldwell? The resolution and the truth?

5.Jim, an ordinary man, the American way of life, prosperity, work? Love for his wife? The necessary separation, the phone calls? His mates at work, Jean, meeting the girl in the bar? The telephone calls, the cumulative effect, the seductive attitude, his resistance? His first listening, his then trying to get rid of the stalker? His sister-in-law and her antagonism and attitudes towards Kris and himself? Kris, the home, her trying, her growing suspicions, growing desperation? His deciding to meet the stalker, her not turning up? Suspicions that it was Jean – and Kris running out of the restaurant? The shooting? His final disbelief?

6.Kris, nice, love for her husband, not wanting him to go away, her coming, buying the house, her sister coming, her fears, jealousy, worrying about the stalker, the phone calls? The irony of the truth, her being absent when the phone calls came – audience suspecting that she was the stalker or not? Her killing herself? The trigger for this in his moving to the other city for work?

7.Jean, genial, at work, skills, under suspicion, her boyfriend?

8.The woman in the bar, her friendliness? The bar where Kris did the phoning under the name Lauren? Jim and the confrontation?

9.Lynne, her support of her sister, antagonism towards Jim, confrontations?

10.Officer Caldwell, the arrest, the initial interrogations, the questioning, her realisation of the truth, her support of Jim?

11.The screenplay giving sufficient clues? The dramatic revelation? The theories of multiple personality, their effect, manifestations, triggers? One personality killing the other in the suicide?

THE HAND THAT ROCKED THE CRADLE

US, 1992, 110 minutes, Colour.
Annabella Sciorra, Rebecca de Mornay, Matt Mc Coy, Ernie Hudson, Julianne Moore, Madeline Zima.
Directed by Curtis Hanson.

The Hand that Rocked the Cradle is an entertaining thriller. It is a domestic thriller, a focus on an ordinary American family and its need for having a nanny. However, it is one of those films where the nanny is a psychotic killer.

Annabella Sciorra, who emerged in the late 80s as a strong screen presence in True Love, plays the harassed mother. Matt Mc Coy is her husband, Madeline Zima is their poised daughter. The film belongs to Rebecca de Mornay who is the widow of a doctor who committed suicide after being accused of molesting his patients, including the mother of the family. She decides to get her revenge by alienating the affections of the children and of the husband as well as trying to destroy the wife. Rebecca de Mornay is quite intense in this role.

The supporting cast includes Ernie Hudson as the simple handyman, crucial to the resolution of the film. It also has Julianne Moore in an early role as a friend.

The film was directed by Curtis Hanson who had made Bad Influence with Rob Lowe and was to go on to great success with LA Confidential as well as films like Wonder Boys, Eight Mile and In Her Shoes.

While this story has been told frequently, this is a superior and entertaining version.

1.The title, Marlene’s explanation of the hand that rocks the cradle rules the world? The irony of Peyton rocking the cradle?

2.The work of Curtis Hanson, his skill at thrillers? A domestic thriller, a thriller of menace? The final confrontation and action?

3.The American city, homes, the interiors of houses, gardens and greenhouses? Offices? Credible locations? The background of the Gilbert and Sullivan songs?

4.Claire at home, her relationship with Michael, with Emma, a good woman, prosperous, pregnant? Her getting a fright with Solomon’s arrival? Her welcoming him? Her being nervy? Going to the doctor, his molestation, her discussions with Michael, the complaint? The collage of newspapers giving the information about the doctor, the accusations, his suicide? The giving birth to her son? The work at home, wanting to build the greenhouse? The decision to have a nanny, the interviews? The chance meeting with Peyton, Peyton’s contriving it, their discussions, the rapport, Claire inviting Peyton to dinner, her acceptance, meeting the family? Her being employed?

5.Claire and her personality, a good woman, her friendship with Marlene, Marlene’s past relationship with Michael? Bringing up her daughter? The children and their affections being alienated? The ambiguity of Michael’s behaviour? Her suspicions, accusations, the surprise party and the irony? Her becoming a victim of Peyton’s manipulation? Her becoming a victim, her needing the breather, the injury, hospital? Marlene’s death, her investigations, going to the house, knowing the truth, the confrontation with Peyton? The conflict, the physical battle, Solomon’s helping?

6.Michael, a good man, his past love for Marlene, the issue of smoking? At work? Writing the plan, Claire and her not posting it, his reaction? The planning of the surprise party? Claire and her attack on him, the party? The truth, confronting Peyton, breaking his legs? A future?

7.Emma, her age, assurance? Her love for Solomon? Her sense of responsibility? Attraction towards Peyton? The story of the bully and Peyton twisting his arm and threatening him? Peyton and her accusations about Solomon molesting Emma, Emma not understanding this, her grief at his going away? Her final tough attitudes when Peyton’s true nature was revealed, her shrewdness in eluding her and helping her little brother?

8.Marlene, smart, her talk, real estate, her past friendship with Michael, smoking, the parties? Her wariness of Peyton, the chimes, discovering the truth about Peyton’s identity, confronting her, going to the greenhouse, her death?

9.Peyton as villain, her relationship with her husband, his will, her having to move out of the house, the funeral, her anger? Giving birth, the difficult birth and the death of her child? Depression and madness? Meeting Claire, talking to her, being friendly, advice about clothes? Her intentions to subvert – a Iago-like character? Breastfeeding the baby, Solomon seeing her, her threatening him? Her treatment of Emma’s bully? Going to the office, rousing suspicions about Michael, the idea of the surprise party for Claire, the plans, getting Claire suspicious of Michael? Her coming onto Michael, his telling her that he was a one-woman man and her interpretation of this? Her tearing up his application? Her gradual antagonism towards Claire?

10.Her being exposed, the twist, her coming inside the house, fighting Michael, breaking his legs, the fight with Claire, Emma saving the baby? Solomon and his holding the baby, saving the situation? Her death?

11.The experience of domestic violence – hope for the future?

PRIDE AND PREJUDICE

UK, 2005, 128 minutes, Colour.
Kiera Knightley, Matthew Mc Fadyen, Brenda Blethyn, Donald Sutherland, Tom Hollander, Rosamund Pike, Jenna Malone, Judi Dench, Kelly Riley, Claudie Blakley, Penelope Wilton, Simon Woods, Rupert Friend, Cary Mulligan, Tallulah Riley.
Directed by Joe Wright.

This most popular of Jane Austen’s novels is best-known for its many television versions, especially that of 1995 with Jennifer Ehle as Elizabeth Bennet and Colin Firth as Mr Darcy. Last year, the plot was adapted (but followed the novel closely) for the very entertaining Bollywood-style extravaganza, Bride and Prejudice. Strange as it may seem, this present film is only the second version for the big screen. It is sixty five years since Greer Garson and Laurence Olivier were Miss Bennett and Mr Darcy.

Each version needs a good reason for superseding its predecessor. The question is, what does this 2005 version have to offer?

First of all, audiences will find it entertaining. Its recreation of the period, the era of war with Napoleon, is different. Instead of lavish Regency costumes and décor, director Joe Wright has opted for an earthier style. It is not glamorous. Rather, it reflects the social standing and family incomes (and lack of them) of families who were not considered part of ‘society’. The Bennett family is not necessarily uncomfortable. But, with five daughters who need husbands to support them (according to the law, daughters could not inherit so estates went to male cousins like Mr Collins), matchmaking was a full-time occupation.

The director also opted for filming on location rather than in studios. A wide selection of homes throughout Britain were chosen. Ordinary homes with the touch of the farm served for the Bennets. Grandly elegant houses were used for Mr Darcy’s home and that of Lady Catherine de Burgh. The buildings and interiors are impressive but the film also capitalises on both gentle and rugged locations in Derbyshire.

One of the key features of this version is that the actors are much the same age as the characters in the novel. Elizabeth Bennett is about twenty and Mr Darcy in his late 20s. Greer Garson, for instance, was at least twelve years older for the 1941 film and Laurence Oliver was in his early 30s. Colin Firth was, in fact, 35 when he played the part. This time Keira Knightly is almost twenty and Matthew Mc Fadyen twenty eight.

This means that Elizabeth is a mixture of mischievous girlishness and intelligent shrewdness. Keira Knightly (who has risen quickly to stardom from Bend it Like Beckham to the Pirates of the Caribbean series) is pretty and pert. While she discovers she has been harshly prejudiced against Mr Darcy, it is the potential for maturity rather than maturity itself that the actress conveys. Matthew McFadyen? is a very good Darcy. He alienates Elizabeth as well as the audience with his pride and his prejudices but, as he better understands himself and his feelings, we can understand how Elizabeth is attracted to him. Some of the intense interchanges between the two are quite powerful.

Mrs Bennett and her nerves have always been scene-stealers and Brenda Blethyn seems an obvious and good choice to play her. Surprisingly, Donald Sutherland plays the put-upon Mr Bennett. He is both genial and cowardly and the performance reminds us that he is to blame for not intervening in his daughters’ upbringing and his wife’s obsessive planning. He is not just simply the martyr to Mrs Bennett’s hen-pecking.

Most of the rest of the cast have cameos. Rosamund Pike is a mopy Jane, Jena Malone a giggly and flirtatious Lydia. A standout is Tom Hollander as Mr Collins in his wilfully obtuse proposing to Elizabeth as well as his obsequious attitudes to Lady Catherine de Burgh. She is played with grand hauteur by Judi Dench.

A more down-to-earth and realistic interpretation of Jane Austen’s world.

1.The tradition of screen versions of Pride and Prejudice? The 1941 classic? The television series, especially that of 1995? Audience familiarity with the plot, the characters?

2.The popularity of Jane Austen’s novels, critically, widely read? Her world at the beginning of the 19th century? Issues, style? Elegance? A touch of realism in a small focused part of England?

3.England at the end of the 18th century, beginning of the 19th? The background of the Napoleonic wars, the military, Wickham and the recruiting of soldiers? Their reputation? English society, the dominance of men over women? The role of religion? The estates? The emerging middle classes?

4.The film’s use of décor, locations – realistic and authentic? The buildings, the places?

5.Costumes and décor – the less-wealthy middle classes, the elegant rich? The mixing of the classes in the local dances?

6.The title – with reference to Elizabeth, with reference to Darcy?

7.The age of the cast, closer to that of the characters in Jane Austen’s novel than actors in previous versions? A more realistic presentation?

8.The portrait of the Bennett family, their home? The middle class? The farm and the animals wandering around? Mr Bennett and his being quiet, laidback, ironic comments, tolerant of his wife, his daughters? His relationship with each of his daughters, fondness for Jane, admiration for Elizabeth, his correction of Mary, his giving up on Lydia and Kate? His relationship with his wife? The experiences and his reactions? His final decisions, supporting Elizabeth to marry Darcy? Mrs Bennett as the mother hen, love for her husband, love for her daughters, her chatter and gossip, drinking, her manner? Her desperation in marrying off her girls, the motivations? A frivolous and surface woman? With each of her daughters, her ambitions? Out and about, her behaviour at the Bingleys’? Welcoming Bingley into the house and sending everybody out of the kitchen? Her quick adaptation to Lydia’s eloping?

9.Jane, the oldest, the need to marry, meeting with Mr Bingley, the attraction, the dance? The possibilities for her future? The bad impression of her parents, Darcy and his intervention, Mr Bingley leaving? Miss Bingley and her arrogance? Deigning to go to the local dance? Jane going away to London, being hurt? Her return, her confiding everything to Elizabeth? Introverted, not revealing her true feelings? Mr Bingley’s return, Darcy arranging the return, the proposal?

10.Elizabeth as the central character, the second daughter, her age, charm, independent spirit? Her joy, laughter? Her love for her sisters? Confidante of Jane? With her parents, tolerating her mother, closer to her father? Going to the dance, the embarrassment of hearing Darcy’s comments on her? The antagonism towards Darcy even while dancing? The clashes, the verbal interactions? The talk, at home, the meals? The encounter with Darcy, his coldness, and yet his advance, his coming through the rain to see her, at his house? The talk, the proposals? Her condemning him about Wickham and his treatment of Wickham, his explanation of Wickham’s lies? The relationship with Lady Catherine de Burgh? Visiting Mr Collins? Mr Collins, his arrival, his proposal and his refusing to listen to Elizabeth? Her friendship with Charlotte, Charlotte marrying Mr Collins, her visiting and seeing Charlotte at home? Lydia running off, Mr Darcy arranging the marriage, her discovering the truth by accident? The reconciliation, the talk, the declaration of love?

11.Wickham, his charming Elizabeth, his stories about Darcy later proved untrue? Lydia, the attraction, running off? Darcy arranging the marriage? Lydia’s return, giggling and joy, her mother’s reaction? Mary as plain, singing and playing the piano, her father telling her to stop? Kate and being flirtatious?

12.Mr Collins, his inheriting the property? His visit, pompous attitude, the patronage of Lady Catherine? His manner of talking, the proposal to Elizabeth and his not hearing her refusal? Marriage to Charlotte? The visit and his incessant talk?

13.Charlotte, her friendship, lack of prospects, marrying Mr Collins, Elizabeth’s shock, keeping house and her being satisfied?

14.Lady Catherine de Burgh, haughty? Her patronage of Mr Collins? Her presumptions, Elizabeth’s visit and the meeting, Elizabeth playing, Lady Catherine talking over her? Her arrival at the Benetts’ house, the arrogance of her interrogation of Elizabeth about her relationship with Mr Darcy? Elizabeth’s firm reaction?

15.The aunt and uncle from London, taking Jane, their visiting, the travel, the experience of travel in England at the time, Elizabeth and the journey, visiting Mr Darcy’s house, the tour, hearing the truth about him, meeting Mr Darcy?

16.The film’s detailing of life in the village, the farms, the shops, the dances, people and their interactions? The travel style of the times?

17.The audience familiar with the story, but the value of this version as being more realistic and situated, not in a studio, but in the actual countryside?

LAND OF THE DEAD

US, 2005, 103 minutes, Colour.
Simon Baker, John Leguizamo, Dennis Hopper, Asia Argento, Robert Joy, Eugene Clark.
Directed by George Romero.

George Romero can’t leave the dead alone! He re-created the zombie movie in the late 1960s with his small-budget, black and white horror film, The Night of the Living Dead. He made two sequels in the 1980s, Day of the Dead and Dawn of the Dead and so staked his claim to be the master of the living dead genre (and there have been several sequels and re-makes from other directors, including a recent Dawn of the Dead).

The Living Dead films have served as allegories of American society of the time. This is the case here, especially as it had release in some countries around the world just as New Orleans was destroyed by Hurricane Katrina. The images of a desolated Washington with the poor struggling to survive and a rich coterie exploiting the situation and menaced by the living dead are a reminder of human vulnerability and that disaster can strike suddenly and the consequences devastating.

A group of mercenaries, led by Simon Baker, have a mission to destroy the zombies, especially as they menace the survivors. However, the dead are starting to react to stimuli, almost to think for themselves. Their leader moves them across the river towards the city. The mission is double-edged as a rogue mercenary (John Leguizamo) is trying to rob from the callous businessman who is profiteering from the situation (Dennis Hopper), so fighting the enemy and fighting within the ranks.

Romero uses a lot of the conventions of the genre with some people being made zombies, with attacks that are frighteningly ugly – and some touches of cannibalism – but this is not as ‘in your face’ as many recent horror films. In fact, some diehards might be disappointed that it has the lighter and less grizzly touch. But, as always, the appeal is to the horror fans.

1.The genre of the Land of the Dead, the Living Dead, Zombies? The popularity? The appeal of this kind of horror: imagination, fear, human destiny, identification? What if…?

2.The films of George Romero, his creation of the new phase of Living Dead films, his continuing contributions over the decades? The early films and shock, ugliness? The social allegories? His imitators?

3.The futuristic setting, Washington, DC? The affluent building and its lights, interiors, luxury, the people, their clothes, behaviour, eating and drinking, drugs? The outskirts and the hovels of the living? The outskirts and the living dead? The visual impact of these worlds? Musical score?

4.The title, its relationship to the other stories in the trilogy? Its particular focus on the living dead?

5.The future, the consequences of the disaster, the destruction by the living dead, the remnant of humans, the Land of the Dead? The rich, their exploiting, the people who were exploited? The living dead, the transition, the possible evolution into intelligence, the move towards revenge?

6.The experience of the living dead, the dread of dying, of being made a zombie? The physical experience and repercussions, the decay, the visual imagery of the decay? The loss of mental powers? Automaton behaviour? The looking in the air to the fireworks?

7.Riley, the hero, character, a mercenary, his work? His friendship with Charlie and using him? The Dead Reckoning tank? His tactics, the night raids, coordinating the raids, his responsibility, the dangers? Cholo and his antagonism, Cholo and his associates? The encounter with Slack, her past life, prostitution, tough, joining the team? Their working together, their motivation? Cholo and his betrayal? Riley working for Kaufmann, to bringing the goods, save the food? Cholo and his getting the alcohol and selling it? The attacks, the defence in the tank, their success? The beginning of the confrontation with Cholo, the truck, the truck’s team?

8.Charlie, genial, slow, his friendship with Riley, loyalty, involvement in the attacks?

9.Slack, her age, experience, being abused? Tough, her joining the mercenaries, involvement in the attacks?

10.Cholo, as a character, his associates? His greed, the black market with the alcohol, in the supermarket, the attack of the living dead? His work, motivation, fears? Wanting money, the confrontations with Kaufmann, the deals? Betraying Riley, his tricks? His being transformed – and his sardonic remarks about learning how the other half lived?

11.Fiddlers’ Green, the parody of wealth? Kaufmann as a dealer, rich? Having the mercenaries? Bringing in the food and alcohol from the shops? His interactions with Cholo, despising him? Riley and giving him jobs? The invasion of Fiddlers’ Green, his attempts at escape, the money, his henchmen, running away? In the car, trapped? The money destroyed? The confrontation with Cholo and their both being burnt?

12.The leader of the living dead, Big Daddy? His awakening, his alertness, walk, manner, drawing the crowds, distracted by the fireworks, their not looking at them, moving as a group, crossing the river, wading through? Fighting the living on the boundaries? Big Daddy and his moving to Fiddlers’ Green, the confrontation with Kaufmann? Riley – and letting him go back to the Land of the Dead? His future, the evolution of intelligence?

13.The pool on the outskirts, their leaders, daring? Fighting, the teams? The squalid way of life, prostitution, the gambling on the fights between the living dead? Their being able to go to some king of land of hope? Riley and his taking the truck with Slack to the north?

14.The living dead, the horror, their appearance, make-up, slow walk, the deaths, the cannibal behaviour? The overall impact of this kind of horror?

KING’S GAME (KONGAKABALE))

Denmark, 2004, 103 minutes, Colour.
Anders W. Berthelsen, Soren Pilmark.
Directed by Nicolaj Arcel.

It is meant as a compliment when this film is described as a small-scale Scandinavian Woodward and Bernstein story. This is a film about journalism and politics, about dirty tricks and integrity.

The author of the novel on which the film is based, Niels Krause- Kjoer, a political journalist, served as a spin-doctor to the Danish conservative party for a year in 1997. Since leaving politics, he has written a number of books and lectures at universities. He has consolidated a strong reputation which makes the characters and events in The King’s Game credible – and, he says, are based on his experiences as well as what might well have happened.

The tone of the film is Scandinavian but audiences will have little difficulty in making the parallels with political happenings in their own countries.

The setting is an election, the leader of the opposition injured in a car accident, the manouevring of an ambitious deputy and the press liaison to discredit his main rival (a liberal woman) and a succession of leaks and manipulating journalists. The audience identifies with an earnest reporter who is given the political round, fed a story which he uses and who then follows up to unravel the plot and unmask the villains.

At first the screenplay is quite critical of journalists and the cosy relationships with politicians. But, it is the media proprietors and editors who are mainly at fault because of their deals with the powers that be. And, so, it is the duty of honest journalists to expose corruption and work for justice.

The film is well-plotted, the characters and situations credible and, because of the tension of the move towards election day, the screenplay generates suspense. Anders W. Berthelsen (Italian for Beginners, Blinded) makes the earnest journalist a sympathetic hero and Soren Pilmark is more than sinister as the scheming politician. This is a solid and intelligent drama that will interest adult audiences.

1.The tradition of political thrillers? Journalistic thrillers? Films like All the President’s Men and their influence? Comparisons, similarities, differences?

2.Denmark, its politics, history? Its place in Europe, Scandinavia? The impact of this film for Danish audiences? European, worldwide?

3.The Copenhagen settings, the political world, rallies, boardrooms? Newspapers? Television studios? Homes? The musical score?

4.The title, politics, rulers? The author’s experience of politics and spin?

5.The prologue, the rally, the support of the politician, hopes, the sudden crash? The political situation, the hospitalisation? The prospect of the election, the short number of days? The state of the party, in opposition, the internal struggles for leadership? Strategies, public relations?

6.The importance of the elections and the dramatic tension, the passing of the days?

7.The party, the reaction, public statements, the media? Lone, the prospect of her leadership, more liberal, party antagonism? Her adviser and her strategies? The tactics in the boardroom, the man presiding, trying to delay Lone’s election as chairman? The sympathy for the hospitalised politician? Lone and her husband, his work, depression, the hospital in Cambodial, the use of the funds, his lack of ability as manager? His and her vulnerability? Erik, his place on the board, the meetings, his allies, the press officer and his scheming for him? The strategies and dirty tricks?

8.The politician and his being brain dead, this being concealed? His death? His wife in hospital, her wanting to know? Erik and his visits? The absence of the son and his antagonism towards his father? His girlfriend? Erik and his relationship with his secretary, using her, meeting the son at the airport? The ban on news?

9.Ulrik and his career, his relationship with his wife, family? His father’s reputation, everybody speaking about him, memories of his politics, big business? his father’s attitude, on-side with the dirty tricks, the party thinking that he would put pressure on his son? The meetings with the editor, the boss, getting the political round, his enthusiasm? His wife as a nurse, her friends at the hospital, the ability to get some information about the state of the politician’s health, Ulrik counting on the friendship and getting the information?

10.The portrait of the press corps, their toadying to the politicians? Molle, the eccentric, his critique? The public relations man, smooth, singling out Ulrik, planting the story? Ulrik and his investigations, publishing it on the front page? The editor being pleased?

11.The consequences of his article, Lone’s husband and the depression, his suicide, the news given to Lone during a meeting, the funeral? Ulrik and his further investigations, the story published by other papers about the extravagant holidays, the fact that the information was erroneous? The repercussions for Lone personally, her political career?

12.Ulrik’s continued suspicions, trying to visit the politician in the hospital, his wife, visiting his son and getting the false story? The father and his complicity with the editor? Molle and his giving him information, the relationship between the editor and Erik from the past? Going to the hospital?

13.The interrogation of the son, his false story, being delayed in Argentina, actually in Copenhagen? The interrogation of his girlfriend? Following leads, the pretence in getting the surveillance tapes? Realising that the woman was Erik’s secretary, the confrontation, her fears, giving them the information and documents?

14.Erik and his further tactics, the meetings, his public face, always a step ahead of the press? The funeral? His feeling secure? Going for the television interview?

15.The television interviewer, his integrity, Ulrik and Molle and their persuading him if they got the information to expose Erik? Their waiting in the corridor, the film not showing the interview with Erik? People coming out, the comments?

16.Investigative journalism, honesty, politicians and spin, manipulating journalists, old friendships and debts? Justice, commitment to work?

17.The end, the cynical touches, Erik’s being unmasked – but his later election and being a European Commissioner?

THE FAMILY STONE

US, 2005, 102 minutes, Colour.
Claire Danes, Diane Keaton, Rachel Mc Adams, Dermot Mulrooney, Craig T. Nelson, Sarah Jessica Parker, Luke Wilson, Tyrone Giordano, Bryan J. White, Elizabeth Reaser, Paul Schneider.
Directed by Thomas Bezucha.

What is it about American families? Are they different from families in other cultures? In so many films, we see family reunions at Thanksgiving or Christmas. After the greetings come the recriminations and everyone seems to fall out with everyone else. If we are lucky (and if they are lucky and good-willed), we might see some reconciliation.

And so it is with the family Stone. It’s Christmas and the oldest ‘perfect’ son (Dermot Mulroney) is bringing his fiancee to meet them all. Only his younger sister (Rachel Mc Adams) has met her, but they all already loathe her, mock her and are determined to prevent the engagement. And, when she does arrive, they behave abominably towards her – and this includes retired professor father (Craig T.Nelson) and freethinking mother (Diane Keaton). The trouble is that the fiancee (Sarah Jessica Parker) is rather hard to like and take. She is ultra-buttoned up, a controller, with a nervous cough and a propensity to talk incessantly. The family, of course, realises that they are justified in disliking her and mocking her.

One of the sons is less starchy than the rest (Luke Wilson). Of course, he now lives in Los Angeles and is a documentary editor, so what would you expect? He actually befriends the put-upon woman and is kind to her. In the meantime, she has asked her sister (Claire Danes) to come to her aid. The sister is so nice and the family like her so much, the fiancee seems even worse. It all comes to a head when there is a discussion at the table about gay stances. The other son in the family, deaf, is living in a gay partnership. Explosions.

You have a hunch that all will end happily (more or less), so it is a matter of watching the developments to see how this could possibly happen. Performances are quite strong. In fact, Sarah Jessica Parker received a Golden Globe nomination which one would be inclined to give her for having put up with so much from the family.

These are the woes of a reasonably affluent and comfortable family, so it is a little hard to be compassionate. But, perhaps there are some people in our families who are a bit like the Stones.

1.A Christmas story? Family reunion? The American family together? Clashes, resolutions?

2.The importance of the Christmas setting? Families coming together? A season of goodwill? Gifts?

3.The New England town, the home, its sense of being lived in? The diner? The bus stops? Authentic atmosphere? The musical score?

4.The title, the focus on the family, the significance of stone, the stone in the family ring?

5.The prologue, Meredith and Everett, shopping, for Christmas, gifts, Meredith and her pushiness, decisions?

6.Meredith as the focus of the film? Her age, experience, work? Overseas appointments? Her dress sense, her combed hair? Her nervous cough? Her incessant talking? Her wanting to control? Her relying on Julie? The phone calls? The driving to the house with Everett, his attempts to reassure her? The arrival, everybody watching, her reaction, the family and its rudeness? The issue of the room and Amy having to move out? Her feeling more and more uncomfortable, her reactions, feeling that Everett was not supporting her? Her brash speaking, manner, the decision to move out to the inn? Her return, working with Patrick to prepare the meal for Christmas morning? The charades and her being embarrassed, The Bride Wore Black, pointing to Patrick? The table talk about gay issues, her continually compounding what she was saying, Kelly and Sybil and their anger? Thad and his embarrassment? Her feeling that Everett did not support her? Her being rebuked? Going to her room, going to the car, Ben and his going out to help her? Taking her to the diner? Her drinking, dancing, meeting Brad and blurting out about Amy? The return home, her staying in the room, her shock when she woke up, Kelly looking in the room, assuming that she had a sexual relationship with Ben? The fact that she did not? Her blurting this out and people’s reaction? Her continued apologies? Ben and the explanation, trying to get her to learn? The issue of the ring, declaring that she wouldn't marry Everett? Her staying, the change, Ben and the transformation?

7.Everett, his place in the family, his work, seemingly perfect? His understanding the family, suspicions at the arrival, reactions? The tension with his mother, wanting to ask her for the ring that she had promised? Their talk, her refusal? His father insulting Meredith and his saying that he expected more from him? The awkwardness, going to the inn? At table, the discussion about the gay issue? Going to search for Meredith, in the company of Julie, their talk, her listening to him, understanding him, his wanting to stay the night, her refusal? His mother giving him the ring? Trying it out on Julie? Her wanting to leave, his going to the bus stop, persuading her to stay – her getting out of the bus and promising to meet at New Year? A year later and their being together?

8.Kelly and Sybil, their age, experience, bringing up five children? The university atmosphere, liberal? Sense of freedom? The wide range of conversation topics and their bluntness? Their decision-making? Their judgments on Meredith, ridiculing her? The bonds between the two, their house, the children, spoiling them? At table, their rebuking Meredith and their anger? Their love for each of their children, the special problems with each? Especially with Thad and his relationship with Patrick? Sybil and her apology? The night together, the revelation of the news about her terminal cancer? Meredith and the gift of the photo of the pregnant Sybil? The reconciliation – giving the ring? A year later and her absence through her death?

9.Julie, her arrival, being picked up by Thad, the contrast with Meredith? More relaxed, free, playing with Elizabeth? Awkward at the table? Joining in the search with Everett, talking with him, the explanation of her job? His trying on the ring, her embarrassment, talking with Meredith? The decision to leave, the encounter at the bus stop? Her getting on the bus – stopping and explaining about New Year?

10.The contrast with Ben the California background, documentary films and editing? His more relaxed approach, trying to get Meredith to relax? His clothes? Expectations of him? His attraction towards Meredith, coming out to the car to help her? Taking her to the diner, trying to get her to relax, dance, the drinking, the meeting with Brad? The next morning and his explanation that nothing had happened? His trying to get her to understand herself? The foundation of a relationship?

11.Amy, spoilt, critical, blunt instead of honest, ridiculing and mocking? Her relationship with her mother? The issue of the room and her tantrum? The later apologies? Her relationship with Brad? The gift of the photo, her mellowing, Brad’s arrival, the bond with him?

12.Susan, pregnant, Elizabeth, the phone calls to her husband, watching Meet Me in St Louis, the talking? Her father’s care for her?

13.Thad and Patrick, Thad’s deafness, the ability of the family to sign? Meredith and her shouting? The relationship with Patrick, Patrick as part of the household? Helping with the cooking, picking up Julie at the bus station? At the table, the discussion about the gay issues? Sybil and her support of Thad?

14.The build-up to the confrontation, the apologies, Meredith embarrassed, going to get the breakfast, everything spilt, people falling in the food, Everett and Ben and their fight?

15.The importance of gift of the photo, Meredith thinking it was Everett, the fact that it was Amy? The photo as the centrepiece at the end?

16.The aftermath of twelve months, peace within the family?

17.The contrivance of the characters, of the family reunion? American sentiment and its being so open? Issues of honesty, truth, love and reconciliation?

THE LOVE LETTER

US, 1999, 88 minutes, Colour.
Kate Capshaw, Blythe Danner, Ellen De Generes, Julieanne Nicholson, Tom Everett Scott, Tom Selleck, Gloria Stuart, Feraldine Mc Ewan, Alice Drummond, Jessica Capshaw.
Directed by Peter Chan.

The Love Letter is a summertime romance film, a summer story set on the Atlantic coast. However, its target audience is older rather than younger.

The film was produced by it star, Kate Capshaw (Indiana Jones and the Temple of Doom, Just Cause). She appears as a bookseller who finds a love letter and tries to trace who wrote it and to whom. Various people in the bookstore as well as around the seaside town interpret the letter as for themselves. However, the final explanation is somewhat unexpected.

The film relies on a very strong cast. Blythe Danner appears momentarily as Capshaw’s mother, only to return with the solution to the love letter at the end. Ellen Degeneres appears as someone desperate for a love letter as she works for Capshaw in the bookshop. The younger cast include Julianne Nicholson and Tom Everett Scott, a young man who works in the bookshop during the summer. In the background is Tom Selleck who has always been in love with Capshaw. Veterans Gloria Stuart (The Old Dark House in the 1930s to Titanic in the 1990s), Alice Drummond and Geraldine Mc Ewan (TV’s Miss Marple) also appear.

The film was directed by Peter Chan, the Bangkok-born director who worked during the 1990s in Hong Kong, directing a number of films and whose Hong Kong film, Perhaps Love (2005), was a hit success.

Slight, romantic – more like what used to be called “a woman’s picture”.
.
1.The appeal of this kind of film? Romance? Marriage?

2.The setting, the town, the sea, the bookshop, homes? A realistic atmosphere? Musical score – and the range of songs interspersed throughout the film commenting on the themes?

3.The title, the letter itself, its contents, Helen finding it, Janet finding it, Johnny finding it? The irony of Miss Scattergoods writing it to Lilian? Helen tearing it up, her grandmother putting it together again?

4.Helen, divorced, her daughter, going to summer camp? Lonely, repressed? Alienation from her mother? Her mother and grandmother travelling? Her running the shop, the friendship with Janet for so long? George and his return to the town, exploring their past? The attraction towards Johnny? Jennifer working in the shop? The letter, the interaction with Johnny, rivalry on the jogging, insulting him about his smell, changing her attitude, the meals, the sexual encounter? His falling in love with her? The effect? Her mother’s return? Knowing what was happening, the truth about the letter? Her bond with her grandmother? The reconciliation with her mother – and her mother not blaming her? The meeting with George, reflections, a future?

5.Lilian, her absence from the town, her travelling with her mother, the postcards? The reality of the relationship, Helen’s father and her love for him, with Miss Scattergoods, moving out? The bonds between the two, the letter?

6.Johnny, student, working at the shop, attracted towards Helen, the letter, the meal, peeling the orange…? Jogging, the meals, in the shop? Helen insulting him, the apology? His hopes for the future, giving up his studies? Helen urging him to go?

7.Jennifer, her feminist observations, working in the shop? Friendship with Johnny, the dates? Introducing her friend? Her being hurt? Shaving her head? In the shop, the summer, writing the thesis, giving it to Johnny as a present?

8.Janet, her talk, with friends? Lonely? Helen’s criticism of her being late? Working in the shop? The finding of the letter, Helen’s reaction, the fight, their not talking, the final reconciliation?

9.George, his family, the divorce, Helen’s interactions with him, his buying the books, the rescue of the deer? His work around the town? His friendship with Janet? The past, the postcard, Helen discovering it, telling him the truth? His feeling rejected? The future?

10.The people in the town, the postal clerk and the discussion about the postcards with Johnny? The officer and his pulling up Helen after her speeding? The various incidents in the town, the passing of the summer?

11.The bittersweet aspects of love and relationships?