SEVEN YEARS IN TIBET

US, 1997, 136 minutes, Colour.
Brad Pitt, David Thewliss, B.D.Wong, Mako, Victor Wong.
Directed by Jean- Jacques Annaud.

Heinrich Harrer became tutor to the young Dalai Lama. He was in Tibet during the Chinese conquest. He is the focus of Seven Years in Tibet. For a focus on the Dalai Lama (with no mention of Harrer), Martin Scorsese's Kundun should be seen.

Heinrich Harrer was a well-known Austrian mountain-climber of the 30s. He had also been a member of the Nazi party. Harrer went with his friend, Peter Aufschnaiter, to climb in the Himalayas but the expedition was halted by an avalanche and he and his company were arrested by the British and sent to a prison camp. His wife divorced him. He wrote make contact with his son and tried to escape, eventually succeeding in 1942.

Harrer and Peter made a two year journey across northern India and eventually arrived in Tibet. In disguise, they were befriended and hidden, Peter eventually marrying there.

The movie is sometimes breathtaking in its photography (Argentina standing in for Tibet, Canada for India). It is also the story of a spiritual journey, not in the devout sense, but in the transformation of an egotistical man who had left his pregnant wife for climbing achievement, was not liked by his team, but who gradually changed through the cultural and Buddhist traditions of Tibet.

Brad Pitt, Germanic accent and all, is persuasive as Harrer. David Thewliss is his climbing partner. There is an international cast, including a number of Buddhist monks, and the Dalai Lama's sister portrays their mother. The film takes its Western audiences into a spiritual opening to Asia. But the film is also a plea for an understanding of the invasion of Tibet by communist China and the profound results for the nation, for Buddhism and the Dalai Lama and thousands of Tibetans living in exile.

1.Audience knowledge of Tibet? Its history? Buddhism? The impact of China’s takeover? As filmed fifty years after the events?

2.The role of the Dalai Lama, his history, the Kundun, as a child, from the village, in Lhasa, his status, training, his exile – and his subsequent history and Nobel Peace Prize in 1989? His impact in the world of the 20th century?

3.The critics of the film who considered it too European, focusing on a European in Tibet – but based on a true story. Is the criticism fair?

4.The wide screen photography, the European locations? The mountain territories of India and Tibet? The beauty, the sweep of the mountains, the sweep of the plains? The spectacle? The action sequences? The score?

5.The film and the footage filmed in Tibet? The reconstruction of Lhasa, the streets, the buildings, the interiors? The palace, ordinary people’s homes, temples? Old Tibet and the indications of change?

6.The 1940s, Tibet and its isolation, its relationship with China, the Buddhist traditions, the monks and monasteries? The change and openness to the 20th century world and to the West?

7.China and its changes in the first half of the 20th century, the emergence of Mao Tse Tung, his ambitions, a unified China, the declaration on Tibet, wanting Tibet as part of Chinese territory? The picture of the Chinese, their ruthlessness, the visit of the generals, the bombardments, the cruelty, the massacre of Tibetans? The subsequent history of Tibet as part of China and the Dalai Lama’s exile?

8.Buddhism, the picture of Buddhism and its traditions, images and statues, rituals and prayer, its philosophy, detachment, humility, being grounded? The reverence for the Buddha himself?

9.The casting of Brad Pitt as Heinrich Harrer? His screen presence? His story, the past, the Olympics and the gold medal, the mountain climbing? His plan to scale mountains in Asia? The relationship with his wife, her pregnancy, his coldness towards her, the scene at the station, the press and the photos? Getting his friend to look after his wife? Her pregnancy, his being away for the birth of the child? His meeting with Peter Aufschnaiter? The climb, the injuries, their internment, the escape, a growing sense of responsibility, the later letters from his family, his son disowning him? His never having seen his son? The Chinese takeover of Tibet and his return to Austria, meeting his wife, his son not wanting to see him, leaving the gift, the reconciliation with his son? The transformation of his character? His spiritual journey? The background of his Nazi affiliation, the National Socialists, his pride in being an Austrian? His renouncing this part of his life?

10.The theme of achievement, the Kundun’s comment about westerners wanting to achieve whereas Buddhism wanting people to be detached and humble?

11.The dramatics of the climb, working with Peter, Heinrich’s fall, his injury, his persevering, his saving Peter when he was hanging by the ropes? His arrogance? Saving Peter’s life? The bonds between the two?

12.The outbreak of World War Two, the effect on Austrians in Asia, the British and the rule in India, their being interned? The detail of camp life, their treatment, the other men? Hardships? The spirit of the internment?

13.The decision to escape, the means used to escape, their walking thousands of miles, the snow, the freezing and their boots, the sores? The experience of the bandits – but taking their horses and riding away? The mountains, the vast plains?

14.The arrival in Tibet, in Lhasa? The strange appearance of Europeans in Tibet? The people welcoming them? Kungo Tsarong and his friendship, welcoming them into his house, his wife? Buddhist hospitality? The gift of the clothes, the tailor and her work? Her friendship with the two? their pride in their new clothes? The meeting with the authorities and permission to stay? The encounter with Ngawang Jigme? His gift of the clothes? The friendship with him?

15.The portrait of the Kundun, seeing him at different phases of his childhood, four years old, eight years old? The portrait of the Dalai Lama at fourteen? The story of his birth, his selection, recognised as the incarnation of Buddha? His role in leadership in the Tibetans, a monk? The role of the regent? The esteem of the people? The rituals, his place as ruler, the decorum in audiences with him? The meeting with Heinrich, his golden hair, the discussions? His wanting to meet Heinrich, the range of questions, his love for movies, wanting Heinrich to build a movie theatre, pretending to drive in the car, the fixing of the radio and listening to the news, his questions about Europe, Heinrich teaching him, the map? Hearing the news about China? His audience with the Chinese generals and his commanding role? The dream of the massacre in his village? The invasion, the bombardment, his dilemma as to whether to stay or leave?

16.Ngawang Jigme and his role, as secretary, as diplomat? The gift of the clothes? His skill in diplomacy, his advising the regent, his becoming a governor? The siege, the attack of the Chinese? His saying he would not surrender, his message of surrender? His judgment of capitulating to the Chinese – even though the order was that all Tibetans would die for their country? His going to Beijing, being received by the generals? His thinking he was doing the patriotic thing? The final discussion with Heinrich, Heinrich giving him back his clothes, that being a great insult, Heinrich telling him he would have to live with himself?

17.The character of Peter Aufschnaiter, leading the expedition, on the mountains, the dangers, the friendship with Heinrich, their shared internment, the ordeal of the escape, the trek to Tibet? His friendship with the tailor, marriage? His adapting to Buddhist customs – the separate drink for the guest waiting on the table? Heinrich returning his watch to him?

18.The portrait of Heinrich Harrer, his life, its meaning? His work in Tibet, his surveying of the city? The buildings for the Dalai Lama? The episodes like the skating, instructing the Dalai Lama, answering his questions, the map? The discussions with the Kundun about his own son, the Dalai Lama being a kind of surrogate son? His return?

19.An emotional experience, interest in the history of Tibet, the film as informative and educational? The impact of the final comments about Tibet, the massacres, Chinese rule, the exile of the Dalai Lama – and issues of human rights?

THE LIFE OF STUFF

UK, 1997, 90 minutes, Colour.
Mabel Aitken, Ewan Bremner, Liam Cunningham, Jason Flemyng, Ciaran Hinds, Jenny Mc Crindle, Gina Mc Kee, Stuart Mc Quarrie.
Directed by Simon Donald.

The Life of Stuff was a very successful play on London’s West End and winner of awards. Simon Donald, author and director, also received awards. However, it seems a great mistake to transfer this kind of play to the screen unless it is opened out and made cinematic. Instead, Donald who wrote the screenplay, confines his action to interiors except for an alley scene. He also retains a great deal of the dialogue which means that it is a very wordy film, too much for cinema audiences.

On one level, it is very mundane with its focus on extremely unlikable characters: the brutal manager of a club, an affluent dilettante who is on drugs most of the time, and the women who come with him for the party, a man who is involved in insurance fraud, a drug addict discarded by the wealthy man, a tough criminal and criminal associates. They spend most of the time confronting each other, shouting and bickering, taking drugs, a succession of brutal events while an incessant amount of talking. Towards the end there is a big philosophical speech about what it is to be human, to be alive, what is the stuff of life and the life of stuff.

There will be few audiences who will be prepared to give their full attention and time to this film. In fact, it has a very strong British cast, many of whom were to make their mark in films and television in succeeding years.

1.The impact of the film? Interest, lack of interest? Characters, unsympathetic?

2.The film based on a play, the action confined to interiors, the emphasis put on dialogue, transferred from the theatre? The visual cinematic style – but the theatrical action and dialogue?

3.The Scottish setting, the Scottish background? The dismal interiors of the club? The basement? The alleyways? The panels – and characters crawling through ventilation tunnels? The ugliness of the locations? The style of colour photography?

4.The editing, the intercutting of the scenes, the various subplots?

5.The initial monologue by Alex Snedden, his attack on Willie, his threatening revenge? The irony of what happened to him, his body in the back of the van, the explosions? His survival and his arrival?

6.Abogast, his physical presence, his comments about the club, his treatment of the two girls, wanting them to clean, their wanting to party? His working for Willie, the party? His having Frazer in his underwear in the basement, keeping him there? The issue of the insurance and the explosion? Janice and her presence? His use of Leonard and the clashes with him, the loud music, getting him to do jobs? The other members of the staff? His confrontations, his self-confidence? The final violence and his comeuppance?

7.Willie, wealthy, continually on drugs, wanting the party, the women, his discarding Janice? The turning of the tables, his being threatened, the violence?

8.The women, cleaners, dressing up for the party, wanting the drugs, hangers-on, crawling through the ventilation system? The interactions with Abogast, with Leonard? Willie?

9.Janice, her appearance, sick, addict, discarded by Willie? In the basement, the long discussions with Frazer?

10.Frazer, the insurance scam, bombing the van, his being burnt? In the basement, his ambitions in life, treatment by Abogast, talking with Janice?

11.Leonard, the music, his work around the club? The other members of the staff?

12.A film showing the world of clubs, the world of petty crime, the world of drugs? An ugly side of life?

13.The meaning of the title – too ponderous for this kind of film and exploration of themes, despite the long philosophical speech by Alex Snedden?

STIGMATA

US, 1999, 103 minutes, Colour.
Patricia Arquette, Gabriel Byrne, Jonathan Price, Nia Long, Rade Serbedzija, Portia de Rossi.
Directed by Rupert Wainright.

Stigmata was imagined as a horror movie and should be viewed according to the conventions of the horror genre rather than as a straightforward serious drama. It has echoes of 1973's 'The Exorcist'. Once again, it had church advisers - although I wish that they had checked further on aspects of the apocryphal gospels and their status in the Church. The final words of the movie are quite misleading about 'The Gospel of Thomas'.

On the other hand, the film-makers have done their homework on the phenomenon of the stigmata (as is evidenced in the dialogue with discussions about St Francis of Assisi and Padre Pio). What they have done is to combine investigations into Gnostic writings with Vatican Curial zeal for the institution of the Church to highlight a more interior religion (and conclude that this was what Jesus said in the hidden Gospel). Plotwise they have taken up, as did 'End of Days', the difficulties of belief and unbelief in our world. By some strange coincidences, a young hairdresser in Pittsburgh receives the stolen rosary of a dead translator of the hidden text who now uses her to make the truth known. He was a Franciscan friar and so uses the stigmata in her body to gain attention. We may nod and smile at the plotline but that is the nature of this kind of fiction. The unbelieving girl goes on a journey of suffering and some discovery of faith.

As in a Morris West novel, some of the Church officials can leave a lot to be desired in their ecclesiastical ambitions and their consequent behaviour and the Cardinal in this movie has such an excess of zeal and loyalty that an exorcism
he performs almost turns into a killing. Sensationalist stuff, but the stuff of melodrama whether it be a story about politicians, the police, any organisation.

1.The interest in supernatural films at the eve of the millennium? The criticism of these films as being sensationalist? Non-theological? Horror stories? The religious themes, the apocalyptic style? The Catholic church?

2.The plausibility of the plot: psychology and the stigmata as a manifestation of psychological disturbance? The stigmata and faith? Possession and diabolical presence? The suffering in the stigmata – as visualised, especially with the nails? Possession by demons and religious experience? The plot and the possession via the rosary beads? The value of this kind of film in imagining the religious phenomena? The action? The discourses about the issues? The nature of the Catholic church and investigations? The ritual of exorcism? The issue of new revelations and the critique of the Gospel revelation?

3.The Gospel, the translation, the secret? The issue of internal religious faith rather than the church? The intentions of Jesus himself, his words? The potential of this alleged revelation to destroy the church? Cardinal Houseman and his stance, representing the Vatican – or himself? The translation, the suppression? The fears undermining the establishment of the church, the destruction of the institution? The resort to violence?

4.The prologue, Brazil? The beauty of the countryside? The people? The religious rituals, the Madonna, the statue and the bleeding eyes? Andrew and his going to Brazil for research? Father Alameda and his death? The rosary? The sale of the rosary to the woman, the mother sending it to her daughter? The rosary as the instrument to alert the world of the revelation? Andrew and his continuing to investigate, the Rome report?

5.The transition to the US, the city settings, the apartment? The churches? The world of hairdressers, restaurants, gardens? Authentic? The comparison with the Vatican locations, their style, the majesty? The musical score, the religious tone of the music – and its melodramatic touches?

6.Frankie, an ordinary young woman, not a believer? Her relationships, sexuality, friends? Her work? Her pregnancy? The visits to the doctor? The beginning of the fits, the nature of her visions? The speculation about epilepsy? The Christian interpretation? The church’s reaction? Andrew and his coming to investigate? The girls talking?

7.Andrew in himself, a good priest, his scientific background? His being used by Cardinal Houseman? The assistants and his orders? Delmonico? As a priest, his approach to Frankie, his language, friendliness? Wariness? His doing the study? The discussions? This kind of film and the raising of the celibacy issue – discussions, the effect on him? The illness and the explanation? Andrew and his scepticism, his faith? Prayer, looking at the photos? The threats? The wall and the writing? The messages from Delmonico? The cardinal and his warnings?

8.Frankie and her increasing fears, the cuts, the experience of possession, the levitations? The nuns and their control of her? The cardinal and his confrontation? The ritual of the exorcism? Choking and anguish?

9.Andrew and Cardinal Houseman? The cardinal and his character, the meetings, his going to the United States? His being confrontative and threatening?

10.Marian Petrocelli, his appearance, the phone, his arrival, talking?

11.The issue of the Gospel, the three versions, the truth? The fire – and Alameda’s death, the threats to the other priests? Andrew and confronting Frankie, the freedom, the garden? The bird and peace?

12.The issue of Brazil, the priest, the translation of the Gospel, the attitude of the Vatican?

13.Andrew and his personal journey, the cardinal and his violent behaviour, threats? His acting in the name of the church – or not?

14.The religious issues of demonic possession, exorcisms? The effect on the individual – and Frankie’s own personal journey from non-belief to the experience, to faith? An ordinary person caught in this experience?

15.The religious iconography, statues, crucifixes, churches and their use? Especially the ornate iconography of the Vatican apartments?

16.The finale, the information from the Gospel of Thomas – and the fictitious presentation of the message, and the attitude of the church and the suppression of this kind of message for fear of a threat to the institution?

A RAGE TO LIVE

US, 1965, 101 minutes. Black and white.
Suzanne Pleshette, Bradford Dillman, Ben Gazzara, Peter Graves, Bethel Leslie, Lyndon Chiles, James Gregory, Ruth White, Mark Goddard.
Directed by Walter Grauman.

A Rage to Live is based on a novel by John O’ Hara, very popular in the 1940s and 1950s, the type of novel that is more commonplace in later decades but was considered frank and even risque in those times. Other films were made of his novels including Ten North Frederick with Gary Cooper.

The film has a strong theme, the psychology and behaviour of a nymphomaniac. Suzanne Pleshette is very good in the central role. Leading men of the time including Bradford Dillman and Ben Gazzara played her husband and her lover.

The film is frank, emerging as it did from the mid-60s when there were challenges to the Hayes Code and a greater sense of freedom in presentation. However, the treatment might still seem rather restrained from the perspective of later decades.

The film won an Oscar nomination for set design for a black and white film.

The film raises significant moral issues. Commentators note that it is easy for a film to portray a male and promiscuity but not so easy when a woman is in the central role. The film raises issues of the differences between the sexes as well as similarities. The film also raises a number of moral issues about dealing with the problem of nymphomania and dealing compassionately with the person.

1.A film of 1965? Based on a popular novel? The issues and treatment?

2.The black and white photography, the local settings, the town, the countryside? The musical score and the themes?

3.The title, the poem and the quotation?

4.The 1960s, a slice of life? The issues of sexuality in those times? Changing times? Changing treatments in Hollywood movies? The use of melodrama to explore moral issues?

5.Suzanne Pleshette’s performance as Grace? The portrait of Grace, as a woman, of her times? Her problems and her nymphomania? The psychological attitudes, emotional? The effect on her and her estimation of herself? Her being at home, her quiet life, with her mother? Her skills at her work, a professional woman? Charlie, the rape and the issues of sexuality? The other men? The lies? Her going on the holiday and its effect, her relationships, moving out? The explanations? Brock, Sidney? The proposal, her wanting to tell Sidney the truth, her being ashamed about herself? His acceptance of her, the marriage? The peaceful two years, her delight in having the baby? Roger and his approach, the affair? The effect on Sidney? Her trying to cover? Slipping out with other men, her reputation? Jack and the tennis, the affair? The death and the revelation? Sidney and his turning against her? The separation? Jack’s wife and her telling Sidney about the affair? The personal consequences, the social consequences, the exposure? What was Grace left with at the end? In her estimation of herself, her behaviour, her reputation? Sidney and the child? Her mother? The condemnation? The audience being asked to be compassionate?

6.Roger, his personality, the son? The engineer, looking at Grace? Work, his approach, promises to her, the affair? The end of the affair? His condemnation of her? Death?

7.The contrast with Sidney, as a person, the hopes, a gentleman? The mother’s death? His learning the truth, accepting it? The wedding? The happy years of marriage, the child? His knowing the truth? His dismay over the years, Jack’s wife and her revealing what had happened? His action?

8.The portrait of Grace’s mother, Grace supporting her, her mother being anxious about her daughter?

9.Brock, the help, the regrets?

10.Jack, the personality, the tennis, the affair? Jack’s wife and her motivation in speaking to Sidney?

11.Charlie, his relationship with his mother? A coward? Fighting Sidney?

12.The social context for these moral problems? Public opinion? Gossip? Condemnation?

13.The moral issues, understanding of sexuality, aberrations? The psychological illness? The compassionate treatment of a person in such a moral dilemma?

BATMAN BEGINS

US, 2005, 141 minutes, Colour.
Christian Bale, Michael Caine, Liam Neeson, Katie Holmes, Gary Oldman, Cillian Murphy, Tom Wilkinson, Rutger Hauer, Ken Watanabe, Mark Boone Jnr, Linus Roache, Morgan Freeman.
Directed by Christopher Nolan.

Once upon a time, Batman was simply a popular comic. Then it became a krash-pow television series in the 1960s with all kinds of comic villains. When director Tim Burton made his very successful film, Batman, in 1989, critics and audiences around the world were very impressed. Here was a Batman that combined the comic strip, the joking tone while also having something serious to say about caped and masked crusaders.

The popularity of this kind of serious, even darker side of Batman and his campaign against criminals in Gotham city continued with Batman Returns in 1991. However, in Burton’s films, the star criminals, the Joker, the Penguin, Catwoman, were played by top Hollywood stars, Jack Nicholson, Danny de Vito, Michelle Pfeiffer. Michael Keaton’s Batman seemed to take second place. He was also rather dour in his manner, morose at times, not exactly a character that most people could identify with.

So, Hollywood changed the tone and Batman Forever and Batman and Robin were far more colourful and flamboyant, the sets and costumes bright and showy with Val Kilmer and George Clooney more genial embodiments of Batman. While the public went to see the films, the critics turned up their noses.

And, apart from some animation series for television, that seemed to the end of that. No more Batman franchise.

It must have taken some courage for the producers of Batman Begins to start again. Their gamble has paid off well. This is a very interesting Batman film. It is geared much more to an adult audience than to a younger audience. While there is action and confrontations with criminal, Batman Begins also invites its audiences to think.

It is worth noting that this Hollywood venture was filmed in part in Britain, has a British director and most of the principal cast are British and Irish. Director Christopher Nolan had made an impression with Memento and Insomnia. His direction of a blockbuster is surprising and successful. He also co-wrote the screenplay with David S. Goyer who wrote and directed the rather brutal Blade Trinity.

One of the principal features that make Batman Begins the thinking person’s film is its rational explanation of everything that happens, especially Bruce Wayne’s early trauma in falling down a well and begin terrorised by bats, the brutal killing of his parents for which he blamed himself, the Asian martial arts training he perfected, the fact that he is a billionaire and so has money and leisure to pursue his crusade as well as have access to what became his costume, his car and his devices for scaling buildings and hang-glide. While he does resemble Spiderman in his confronting evil, there are no mysterious explanations for his transformation. His becoming Batman is his own choice, the working out of his psychological pressures and his choosing a symbol, the bat, which signified his overcoming his fears.

There is a great deal of talk about the nature of fear and also about justice and the condemnation of vengeance as motivation.

Christian Bale is the new Bruce Wayne, serious but able to show a lighter side when necessary. Liam Neeson is a strong martial arts master who becomes villain. Michael Caine is Alfred the butler. Gary Oldman is uncharacteristically calm and on the side of the law. Morgan Freeman always brings gravitas to his roles. Tom Wilkinson is a criminal chief and Cillian Murphy a young and rather sinister doctor. Katie Holmes is Rachel, Bruce’s childhood friend, now become a DA.

The first part of the film is flashback to Bruce’s devotion to his dedicated father within a context of grief and anger and his training to be a warrior. In the latter part of the film, there are car chases, fights and a threat to the water supply of Gotham which is solved in split second timing. So, there is something for everyone.

1.The film well received by critics, by audiences? The popularity of the Batman comics over the decades? The range of films? The comic style of the 60s, Tim Burton in the 80s and 90s, the more flamboyant styles of Joel Schumacher’s films? A Batman for the 21st century? The appeal of the film, character, explanations, issues?

2.A film about the origins of Batman, the credibility of the explanations of Bruce Wayne’s life, career, character, his psychology, his relationship with his parents, their deaths, with crime, becoming a crusader, his visit to the East, his training, his wealth as supporting him in his crusade, the scientific developments of the company that he could draw on?

3.The film as returning to the dark style of Tim Burton’s films? The colour photography, the muted colour? Gotham City? Light in the early part of the film, growing darker? The East and the Himalayas, the locations? The Buddhist sanctuary? The contrast with the darkness of urban evil? The musical score?

4.The strength of the cast, the skills of the director and his reputation?

5.Themes and images, the images of the bats, Bruce’s dreams, the bats and his fears, phobia? The parental relationship, his father, the company, his mother? The opera, the bats, the violence? The tragedy of Bruce’s parents’ death? The bequest of his father? The taking up of the parental theme and the relationship of Bruce with Ducard? Bruce and his blaming himself for his parents’ death, coming out of the opera? Being helpless with the attack and the mugging? The training by Ducard – and having to rebel against Ducard?

6.Bruce’s immersion in the criminal world, the details of the crime, the squalid way of life, in the prison? The background to his crusade and avenging?

7.Ducard, his visit, the challenge, Bruce’s quest, the training in the mountains, the martial arts and the fight, Ra’s Al Ghul and his monastery? The taunts, Bruce and his learning to fight? His fears and overcoming them? The invitation to join the centuries-old group – their crusade, their vigilante mentality and tactics?

8.Bruce and his memories, the father, the hospital, the fall and picking up? Care? The childhood with Rachel? The importance of Alfred in the household and his care? Bruce’s father, the world of transport, the rail and transforming Gotham City? The building, Wayne Tower? His father and delegating authority? The robbery? His father telling Bruce not to be afraid? Jim Gordon and his place in the city? The robber and his being imprisoned? The court case? The importance of the business world, Earle and his taking over the business? Bruce and his return to Gotham City after his exile, people thinking he was dead? His presence at the trial? His angers?

9.Ducard as guru, issues of fear and anger, the martial arts, the theatricality and deception? The powder? The confrontation in the monastery, the burning of the monastery? Ducard and his theories of society, responsibility, will as everything, the will to act, his story of his wife?

10.Bruce’s character, rage and anger, wanting to be spared his fears, the issue of vengeance? The rackets, justice and harmony, revenge and feeling better or not? The importance of decency and the quality of pity? Attacking the criminal system?

11.Alfred, Michael Caine’s style, his giving a damn, heritage, his speech about Harvard, leaving? Alfred not presuming? Rachel at Harvard time? The hearing, the deal about the Mafia? The murderer, Bruce’s speech? The man’s death? The Mafia killing him?

12.Rachel, her strength, the distinction between justice and vengeance, working through the system? The Mafia slaying? Her being ashamed? Her decision to work as a district attorney? Bruce and the encounter with Falconi, the subway attack?

13.Flass, the café speech about the world, understanding, the bashing? The plan to get Rachel? The set-up of the drug delivery and the violence?

14.The drugs, the changing of the crate, the stealing and the fear, the thrill, Bruce not becoming one of the criminals? But trying to understand the criminal mind? To conquer fear, to be one with fear? Rituals and rites of passage?

15.The Leave Shadows, the Master, Ducard and refusing to execute the commission? Ducard saying compassion was a weakness? Vigilanteism as the only way? The condemnation of Gotham, its having to be destroyed? The destruction of the monastery, saving Ducard’s life as he was hanging over the cliff?

16.Alfred welcoming Bruce on his return? Bruce and his contemplating his future, the need to be dramatic, looking for a symbol, the bats, elemental and terrifying, assuming a persona? The contrast with the Wayne business situation, Earle and the arms manufacture? Bruce’s decision to become Batman, revisiting the well, the circle and his being fearless?

17.Dr Crane, his testifying, his institution and the experiments, the link with Falconi, the drugs, his gassing Falconi?

18.Lucius Fox and his experiments, his character, the Morgan Freeman style character? The past, with Bruce’s father? On the board? His being relegated to the laboratories by Earle? His supplying Bruce with the equipment, the cloth, the car etc?

19.Jim Gordon, working with the police, the corruption, the corrupt police? His secret visit and the discussions with Bruce Wayne? The ordinary good man, his home life? His ambitions to clean up Gotham City?

20.Bruce’s plan to overcome Earle, Alfred and the plan about the shares, the ownership? The development of the Bat Cave, the vehicle, the costume? His interventions? Rachel and her reaction, the challenge?

21.The issue of the vaporiser, it missing? Falconi, Dr Crane?

22.Bruce and his injuries, his double life, the playboy sequences and the party, Rachel and her disgust? The interrogation of The Enforcer? The unmasking of Dr Crane, the drugs, the fall in the fire? The importance of Lucius Fox developing the antidote? Rachel and her pursuit, the gas and Crane?

23.The party, the guests being ousted, Ducard’s arrival? The revelation of the plan about the water supply? Ducard and his using Bruce’s memories of his parents? The condemnation of misguided idealists? Justice as balance? Therefore the fight, and Ducard burning Bruce’s mansion? Alfred rescuing him? The move towards the pursuit and the stopping of the disaster?

24.Chaos, the criminals, Flass and his role, Gordon and his attempts to remedy the situation, Rachel and her rescuing the young boy? The fights on the train? The mounting tension, the disaster, the crash of the train?

25.Order restored, Bruce and his taking over the company, the revelation of the truth to Rachel, the boarding up of the well? The stethoscope and the memory of his father? The possibility of rebuilding? The fact that one’s real face is one’s mask?

26.Order restored – but danger in Gotham, Jim Gordon and the final image of The Joker?

LA GRANDE SEDUCTION (SEDUCING DR LEWIS)

Canada, 2003, 111 minutes, Colour.
Directed by Jean- Francois Pouliot.

What's in a name? Seducing has all kinds of sexual overtone and leads us to expect some medical sex story. It isn't.

The posters have already taken the remark that a reviewer would like to make about this little comedy: it is like the Ealing films from the UK in the 1950s, films like Whisky Galore (which had the American title Tight Little Island). This film is located on a tight little island off the Canadian coast. The central character, Germaine, remembers his childhood days when fishing was the livelihood and everybody was content. Now, the population of 125 is in the doldrums, cashing their dole cheques with little hope of renewal - except, maybe, if they can land a contract for a factory. The catches: they have to pay a hefty bribe to the company, they need to have over 200 inhabitants, they need to have a resident doctor.

And that is where Doctor Lewis comes in - and the seduction. Can they convince the city doctor who has come for a month to look over the place that he should stay? They also have to raise the money with the help of the rather unimaginative bank manager who fears being replaced by a machine. They also have to convince the company boss that they have the correct population (which eventually leads to logistics problems as they have to race along back streets to get to the next venue to create a crowded impression!).

It is all very genial (except the issue of the bribe which seems to be taken for granted as business management). The doctor is a nice man but is very upset when his engagement breaks down and he realises that everyone is deceiving him. Well, you know what happens. The important thing is watching how it happens.

Needless to say, there are a lot of characters on the island and there are lots of amusing situations (the listening in to all the doctor's phone calls and wanting to intervene when he is critical, a snorkeller putting a frozen fish on the eager angler's hook...).

While the setting is Canadian, the film travels well and has a universal humour and appeal.

1.A comedy with old-style charm, old-style issues?

2.The Canadian settings, French Canada? Spirit, style, sense of humour, irony? Universal appeal?

3.The coastal settings, an island anywhere in Canada? The irony of its title – St Mary the Modern? The small population (and inflating it for the sake of the doctor and for the building company)? The buildings, the old, the modern style, technology, the fishing industry, the possibility of factory and manufacture?

4.The title, its meaning – not the obvious meaning but getting Dr Lewis to stay on the island for five years?

5.The prologue, Germaine and his memories, as a boy, the people, the stories told, the fishing? The satisfaction for everyone concerned, the night, sex, the smoke from the chimneys? And this being brought back again at the end?

6.The queue for social benefits, Germaine and his two claims, even her reaction? Germaine at home, no future with the fishing, his wife wanting to leave? The mayor, his wife, the change with the mayor and Germaine becoming mayor?

7.The possibility of a factory, the bribes asked for by the officials, the officials and their characters, the condition of having the doctor, the plan to get the doctor, Germaine and his phone calls, the other company bidding more? The visit of the official, the tricks played on him, the population moving to and fro? The factory at the end, and the satisfaction of having some work, despite its only being plastic containers?

8.Christopher Lewis, his life and style, relationship with Brigitte, friendship with Paul, drugs, money? The advertisement, Germaine and the contact, his agreeing to come for a month?

9.Christopher’s arrival, the welcome, expectations? His meeting Eve and her nonchalant response? Checking on the restaurants, the comedy about his liking beef stroganoff, his phone calls to Brigitte? The islanders thinking that he liked feet – and the women trying to be sexy with their feet…?

10.The possibility of a loan, the bank manager, his prim attitudes, people playing jokes, his fearing that he would be replaced by a machine? At home, his daughter, her dating – and alleged pregnancy? His attempts to get the money, calling on favours, the friendship with the woman at the bank, her turning him down? The finale and his taking the benefit money to pay the bribe to the factory owners?

11.The comedy of Christopher’s phone calls being tapped, hearing truth about themselves, the bank manager stopping the phone call, the comments on the house, on the people? The two ladies listening in, taking notes, spreading the gossip around the town? Stopping the call when they felt insulted?

12.Christopher and the long line of patients, Steve and his disease, Germaine wanting to control the queue? Steve and his having to pretend to like jazz?

13.Germaine taking Christopher fishing, his failures, the diver with the frozen fish and Christopher’s delight?

14.Brigitte, the discussions on the phone, his love for her, her affair, his grief, speaking with Eve, hearing the truth – his getting drunk, his dismay about his being deceived by his girlfriend and his best friend? The effect on Germaine and the population?

15.The visit of the manager, everyone in the restaurant, running the back ways and getting to the bingo hall? The skill at pretence? The various meetings in the church – and Germaine’s control, everybody agreeing and participating in the pretences?

16.The pretend doctor, the rivalry for Christopher, his being abandoned, going fishing by himself? Their admitting the truth to him, the effect on him?

17.His change of heart, his connections loosed, his being able to stay?

18.The plastic containers – but the satisfaction of having work, honest work, some prosperity? The satire on small populations, islands, changes of livelihood, difficulties, social benefits, the possibility of building a better life, a new life?

THE DOOR IN THE FLOOR

US, 2004, 111 minutes, Colour.
Jeff Bridges, Kim Basinger, Jon Foster, Mimi Rogers, Elle Fanning, Bijou Phillips.
Directed by Tod Williams.

There have been a number of versions of John Irving novels: Hotel New Hampshire, World According to Garp, Simon Birch. Irving himself wrote the screenplay (and won an Oscar) for The Cider House Rules. He has given his blessing to this version of the first third of his novel, Widow for a Year.

This is the kind of film that is described as independent. It is not a studio film and it does not rely on a happy ending.

The focus of the film is on a sixteen year old (a believable performance by Jon Foster) who spends a summer as an assistant to a celebrated writer of somewhat eerie children's stories - like the story of the sound of someone trying not to make a sound. The film ends in a squash court with the writer literally going down through the door in the floor.

The author and his wife have not recovered emotionally from the deaths of their sons in a car accident - and, it is dramatically effective that we do not see the accident scene until the end of the film. The writer has become hardened, is alienated from his wife who is less able to cope. He is dependent on the young man for typing, chores around the house and, especially, for driving. In the meantime, the inexperienced youngster is infatuated with the wife. What follows is a sexual initiation, something of a blend of the quiet care of Tea and Sympathy and the exploitation by Mrs Robinson of The Graduate. The writer, meantime, is involved in a grim affair with a woman he is sketching.

The description makes these goings on sound sordid. In many ways they are. But that is not the whole point. Traumatised people act in unpredictable and often destructive ways. This is clearly what is happening to these characters. The events are sometimes bizarre, but they need a moral and emotional sensitivity to the complexities rather than a righteous dismissal.

Jeff Bridges is the writer and gives yet another interesting and complex performance, a blend of the genial, the controlling, the desperate and the vicious. Kim Basinger is the grief-stricken mother who leads on the willing young man. Mimi Rogers has the difficult role of the artist's model, victim of the writer's degrading her. The young daughter is played by Elle Fanning (younger sister of Dakota Fanning).

This is a film of moral dead ends and byways, where people are trapped, trap themselves and can escape only through their door in the floor.

1.The popularity of John Irving’s novels? Adapted for the screen? Themes: family, marriage, children, grief, estrangement, sexuality, betrayal? Art and creativity?

2.The title, reference to children’s stories, imagination and language? Ted as a storyteller? The end and his going through the door in the floor in the squash court?

3.The New England settings, the coast, the beach, the house, the town, homes? Audiences able to identify with places and characters – with the touch of affluence? The musical score?

4.Storytellers, art and imagination, the nature of stories? Ted seeing himself in this vein? The line of a sound like someone trying not to make a sound? The mythic tones of the film?

5.The accident, audiences seeing the photos of the boys, people talking about the accident, seeing the devastating effects, the gradual revelation about what happened, the final visualising of the accident? Ted and his graphic depiction of the accident, of Tom’s death, of Tim and the loss of his leg, Jessica finding the shoe…?

6.The opening with Ted and Jessica, sitting, the estrangement, the discussion about the pool, the separation? The arrangement, the two houses, their daughter moving between the two, the workplace, the role of the nanny?

7.Eddie, young, his being the focus of the film, his letter and admiration of Ted, his parents urging him to go for the summer? Ted’s motives in employing him, the resemblance to his son, the athlete photo, his interest in writing, a possible apprenticeship, his needing a driver because of the police taking his licence? Did he have in mind someone for his wife? Eddie’s arrival, the awkwardness, his praise of Ted’s writing, Ted and his lack of inhibitions, the outside shower, driving for Ted?

8.Eddie’s story, age, background, college, wanting a role model, wanting to write? His being introspective? Driving for Ted, accompanying him, seeing his writing, editing, typing? The affair with Mrs Burns and the drawings? The bond with Jessica, talking with her, her explaining Ted’s motivations for employing him, his memories of her cardigan, the masturbation sequence, his being disturbed by Jessica, her sitting down and talking with him?

9.The affair, the Mrs Robinson style of experience, the more gentle seduction, Eddie willing? The long-term effect, the visualising of the encounters? Ted knowing? The effect on Eddie, in love with Jessica, his notes for the shop owner, giving them to Ted, their being torn up? Playing squash, Ted’s brutality and violence towards him? Innocence, the loss of innocence, changing, a loss of a sense of right and wrong, the effect on him, his repeating Jessica’s words to Ted, giving him the messages yet feeling abandoned by her?

10.The little girl, as compensation for the loss of the two boys, the ability of each parent to relate, inability? Her age, nightmares, talking with her father, the frank language, his nakedness? The stories? With Alice, relating to the nanny, playing with her? Relating to Eddie? Her tantrum in the night, wanting her mother? Play, precocious? The photos of her brothers, their feet, the cutting of her hand, the stitches and their coming out, going to the shop, wanting the photo reframed? To be abandoned by her mother?

11.Ted, age, experience, success as a novelist, his reading his stories, the appreciative audiences? The effect of the accident, of Jessica’s estrangement? His own emotions, his being driven, the drafts, change of punctuation, the typewriter, not having a computer? Needing a driver? With Eddie, the squash games? The relationship with Mrs Burns?, Jessica’s description of the stages of the relationship, the humiliation of Mrs Burns while sketching her? His angers? Wanting to break the relationship, his being chased along the beach, scattering the drawings, returning and seeing the mess she created? Mrs Burns' character, her posing for the drawings, the sense of shame, the humiliation, the final anger?

12.The gardener, his work, helping Ted escape, his being sacked, asking Ted for work, being employed, the swimming pool, his wife as housekeeper and nanny?

13.The sketch of Alice, type, young, work with the little girl, the effect of being in the household, her wanting to leave? Her relationship with Eddie – and the touch of looking down on him?

14.Eddie, this experience in his life, emotions, understandings of human nature? Learning, Ted and his critique of his story? The emphasis on the exact detail? His being sacked, the discussion with Ted, listening to the description of the accident? Going back home? His future?

15.Jessica’s departure, packing, the messages through Eddie, her abandoning everyone?

16.Ted, the end, purging his emotions, accepting them, the grief for his sons, going to the squash court – and going through the door in the floor – where?

IN MY FATHER’S DEN

New Zealand, 2004, 125 minutes, Colour.
Matthew Mac Fadyen, Emily Barclay, Miranda Otto, Colin Moye.
Directed by Brad Mc Gann.

Now and again, you come upon a film that you have never heard of, don’t know the director or many of the people in the cast and it makes a strong impression on you. This was the case for In My Father’s Den, actually coming across it on a long Qantas flight (which gave me the time to watch it again). The brief description in the in-flight magazine pointed out that it was a New Zealand film.

In recent years, New Zealand film has meant The Piano, Whale Rider of, of course, the Lord of the Rings trilogy. However, though only a country with a population of around three million, New Zealand has had an effective film industry for some years as well as playing host, like Australia, to overseas blockbusters and smaller films. The forthcoming version of C.S. Lewis’s The Witch, the Lion and the Wardrobe was filmed in New Zealand.

In My Father’s Den is a more specialised film. It was made for an older audience, an audience that likes thoughtful, powerful, even challenging dramas. It takes its adult themes seriously and intelligently and is not looking for easy box-office. It is a co-production with the UK and some of the local lottery money has been allotted for production. It is a good investment.

A word of caution about the structure of the film. It requires attentiveness. The director, Brad Mc Gann, has adapted a popular New Zealand novel from the 1970s by Maurice Gee. He has advanced the action to the present. But there are many strands, a plot concerning a son returning home for his father’s funeral and several sub-plots concerning his older brother, concerning a young teenager and her aspirations to be a writer and to visit Spain and her mysterious disappearance.

However, the story is told in a great number of flashbacks – but not in the order you might expect. The effect is more like putting together a moving jigsaw puzzle, trying to find the pieces that connect with similar pieces. While this is more complicated, it makes the film more intriguing.

Ten years ago, Quentin Tarantino made this kind of storytelling part of the opening up of cinema in Pulp Fiction. The chronological end of the story takes place about two thirds the way through the film but we learn more about the character who has died. It is the same here.

British actor, Matthew Mac fadyen has appeared on television in Spooks and is about to be seen on screen as Mr Darcy in the new version of Pride and Prejudice. His character in In My Father’s Den is Paul, a war photo-journalist, who has escaped his home town and his family. What he reluctantly returns to is an enclosed world of family secrets and lies. Not only is he caught up in them, he finds himself accused of crimes. As the audience follows his story, they gain a greater sympathy for him but realise that ugly incidents from the past must be faced honestly.

The title of the film refers to the hidden room that Paul’s father retreated to. It is full of his books and music. But, there are also more sinister overtones to it.

The supporting cast includes Miranda Otto (Lord of the Rings, War of the Worlds) and young newcomer, Emily Barclay, who gives a sensitive performance as the young girl who discovers more secrets about her past.

By the end of the film, we realise that it is also a murder mystery and the solution is not what might have been expected.

1.The impact of this New Zealand story, mood, issues? Universal impact?

2.The New Zealand settings, the town, the house, the open countryside? The musical score and its mood?

3.The structure of the film: the basic narrative of Paul’s coming for the funeral? The gradual revelation of secrets and lies, the flashbacks, the glimpses, suggestions, moods, use of photos? The Tarantino-like structure and the actual and of the film taking place with events that happened two-thirds of the way through? The appropriateness of the ending?

4.The title, the visuals of the father’s den in itself, the music, the books, the globe? Paul’s visit, the memories, his father, the secret place, not telling his wife? Paul’s discovery, the music, the father inviting Paul to stay? The importance of the painting and the weeping woman, Paul’s deciding not to burn it? The ultimate portrayal of the den – Paul and his cleansing it? The irony of Celia and her finding the den – and the revelation of the link with Paul’s father?

5.The setting of the occasion, the father’s death, the funeral, the funeral words about him being a good man, the grief of his family? Paul and his absence from the funeral, his lie to Andrew?

6.Paul and his life away, the war correspondent, the photos, the nomination for the Pulitzer Prize? The reason for his leaving (and the visualising of this flashback several times)? The effect of alienation, wandering the world? His success, the conflicts he had seen, the Istanbul base? The talk at the school? Andrew and his wife, her introduction of herself, her knowing who she was? His encounter with Andrew, after the funeral, not wanting to stay with them? His staying in the town, the going back to the den, the discoveries, the atlas, the baby photo and his curiosity? The memories of his mother? The school, the students, the meeting of Celia in the den, wanting to get rid of her? The meetings, the sharing, her story, the competition and her success? The relationship between Paul and Celia? His verifying the truth about her with the hospital records? Her disappearance, the accusations, the effect, the hostility of people, being dismissed from the school?

7.The gradual revelation of his past, the memories, the two as boys, the father and his expectations, the mother, the graphic horror of her death, feeling responsibility, Paul walking away, leaving Andrew with the truth? The truth of the past, the truth of the present? A basis for the future?

8.Celia, the opening of the film, the voice-over and her story, the attitudes of the townspeople, the silence? Her place in the town, her relationship with her mother, the brutality of her stepfather? Tension, at school, sharing with her girlfriend, Jonathan and his attraction towards her? Andrew and Penny and their attitudes? The visits? In the den, Paul’s discovery of her, her writing? Admiration for Paul at school? Her being abrupt, cheeky? The visits, the talks, her being encouraged by Paul? The reactions? Her disappearance? The reality of the truth, Jonathan’s reaction? The visit to Penny and Andrew, the revelation of her death? The accident? The police and their severity and interrogating Paul? The issues? The final sequences and the audience knowing that she was dead, Paul giving her the ticket to Spain (and its later use against him)? The end and her walking down the road in hope, the irony of what actually happened?

9.Celia’s mother, Jax, the relationship with Paul when they were children, the sexual encounter, the precocious attitudes? Her relationship with Paul in the past, audience assumptions that he was, perhaps, Celia’s father? The age and lack of experience? His leaving, her staying, marrying, the altering of the birth certificate? Her husband and his harshness, brutality, Paul challenging him, fighting him? The effect of Paul’s return, their meetings, discussions, the old bonds? Celia, the certificate? The realisation of what had happened, her grief at her daughter’s disappearance? Reactions to her death? The sketch of a trapped girl, her past and the relationship with Paul’s father, the brutal husband, the sense of loss?

10.Andrew, at the funeral, his work with the emus and the virus, his relationship with Penny, with Jonathan? The older brother, the flashbacks of Paul walking away? His reaction to Paul’s return, the clashes, the lawyers and Paul’s lack of cooperation, the passport? His being a man of responsibility, knowing what happened? His marrying Penny, Paul’s comment that Penny was like their mother? His relationship with her, her primness? With Jonathan, Paul’s gift of the camera and his taking photos, Jonathan and his taking the photos of Celia, the sexual overtones, Andrew’s anger? Celia, the audience not knowing the truth, the revelation of her visit, Penny’s being responsible for her death, Andrew and his disposing of the body, his lies? Jonathan, his grief, revealing the truth to Paul?

11.The sketch of the people in the town, the students at the school, the sympathetic teacher, the unsympathetic police and the brutality of their interrogations – and Paul’s lack of cooperation?

12.The portrait of the father gradually built up, seeing him in the den, the meaning of his life, creativity, privacy, his relationship with his sons, close to Paul, distant from Andrew? Andrew giving him his father’s ashes? His relationship with his wife, the truth, the relationship with Jax, his wife’s suicide? The will and the mystery of the division into three?

13.Paul as the focus of the film, intellectually, emotionally, the audience sharing his journey, the secrets – and the destruction?

14.The emotional response to the film with response to the characters – and especially because of the complexity of the structure?

CATWOMAN

US, 2004, 104 minutes, Colour.
Halle Berry, Sharon Stone, Benjamin Bratt, Lambert Wilson.
Directed by Pitoff.

After her appearance in Die, Another Day, her Oscar for Monster’s Ball and her being one of the stars of the two X Men movies, everything was possible for Halle Berry. She appeared in the psychological horror film, Gothika, which received a mixed response, and then went on to Catwoman, which did not get a mixed response. The response was generally negative.

Catwoman is a rather flashy show, directed by Pitoff, a Frenchman who was a set designer on the films of Jeunet and Caro, like City of Lost Children. He has a taste for the exotic. However, the screenplay is not really exotic. The credits remind us of the sacred images of cats, especially in ancient Egypt and we remember that this has been popular at least since Cat People, with many variations. However, the mythology is only alluded to and the real role of Catwoman is to right some wrongs, especially in the cosmetics company where she has worked as an artist. Her target is the owner, the arrogant and womanising boss (Lambert Wilson). We know, however, that she should beware of his wife (Sharon Stone), the past face of the company but whose face and character have literally hardened like marble because of the destructive chemicals in the product that is being heavily promoted.

When the cat takes over Halle, she can become just like Spiderman, confident, agile, saviour of the city. When she comes to, she is more like a glamorously diffident Peter Parker. She needs her friends (rather camp) for support as well as the detective who stumbles into her life (Benjamin Bratt). Since Spiderman is successful in portraying the psychological struggles of Peter Parker, there was no reason why Catwoman could not. But it doesn’t, leaving a good-looking but rather flat story until the inevitable showdown between Sharon and Halle.

1.Critical response to the film, negative? Audience response?

2.The film as a Halle Berry vehicle? Halle Berry’s reputation at this time? Glamour? The Oscar?

3.The comic-strip foundation of the characters, heroics? Clash between good and evil? The visuals of the confrontations, costumes and décor, the devices for the style of the film, cameras speeding up, hand-held camera chases? The often camp style of the visuals and performance?

4.The themes of cats, the origins in Egyptian mythology, women and cats, symbols of life and death, sexuality?

5.The American city, the cityscapes, the opening and the environment? The city at night? Offices and shops, police precincts? The factories? The musical score and the evocative theme?

6.Patience as an ordinary young woman, commercial artist, advertising, her secretary friend, Sally? Her diffidence, George’s criticism, her being eager to please? Her acquiescing in the loud musing in the adjoining apartment? The irony of her name, Patience Philips?

7.The theme of age and beauty, Beauline and its being manufactured, beauty, reversing the ageing process? The irony of its side effects, Laura and her face of stone? The press conference, the publicity, the hopes for profits?

8.George as ruthless, his relationship with Laura, the brittle marriage, mutual taunting? The acid tones that he took, blasting Patience? Her response? The later aggressive Patience, his firing her? The new model, substituting her for his wife? His being killed?

9.The cat on the window sill, Patience going out on the ledge and rescuing it, Tom and his interpretation that she was trying to commit suicide? The rescue, his coming to her office, the setting up of the date?

10.Sally, the man working, gender issues, sexual innuendo? Sally, using Beauline, going to the hospital, her flirting with the doctor? Patience stopping her using the product?

11.The scientist, the difficulties with the product, people becoming addicted, the side effects? George and his wanting the money? Laura persuading the security guards to kill the scientist? The situation for Patience delivering the artwork? Overhearing the conversation? The pursuit, the water, her drowning? The irony of the opening with Patience talking about her life changing on the day of her death?

12.Her drowning, the cat, the light, surviving, the many cats coming to her, her awakening? Her acting like a cat immediately, the leaps? The personality change and her becoming more assertive? The address of Ophelia Powers, taking the catnip, her discussions with Ophelia and not wanting accept that she was a cat? Her being sacked, the relationship with Tom, the basketball game, her leaps? Her behaviour at home? The confrontation of the party-goers and the loud music, the fight and her violence?

13.The return visit to Ophelia Powers, the lore of Egypt, the duality of the cat and the woman, care and ferociousness? The seeking of the killers, her dressing in leather, freedom and not being bound? Her attacking the security guard after the dance in the bar (and the S&M overtones)?

14.Tom, the date, rescuing the child with the ferris wheel? Her continuing her cat crusade, the death of George, the investigation, Tom and his suspicions, the robbery in the jewellery store, Patience thwarting it, leaving the message – and the comparisons of the writing of “Sorry”?

15.The confrontation with Laura, Laura warning her, going to the theatre, the chase in the theatre, George and the girlfriend, her disliking the piece? The escape, Tom and his pursuit?

16.Putting Patience in prison, her escape, the final fight with Laura, Laura and her hard face, her death? Tom and his appearing on the scene, saving Catwoman, urging Patience to go back to jail?

17.The final voice-over, her new life the day she died, her not being able to relate to Tom – and her crusade for the future, against evil?

THE RETURN OF FRANK JAMES

US, 1940, 92 minutes, Colour.
Henry Fonda, Gene Tierney, Jackie Cooper, Henry Hale, John Carradine, Donald Meek, Russell Hicks.
Directed by Fritz Lang.

The Return of Frank James is the sequel to the very successful Jesse James which starred Tyrone Power in the title role and with Henry Fonda as his brother. This film is a vehicle for Henry Fonda, made much at the same time as his pivotal role in The Grapes of Wrath.

Jackie Cooper has a good role as his nephew, Cooper being an actor in these years (especially in The Kid with Wallace Beery) who then became a director of telemovies and television films (as well as appearing in the Superman movies). A very young Gene Tierney is charming in the rather feminist role of the young woman who wants to be a reporter in Denver. Henry Hale is Major Rufus Cobb, a supporter of the James brothers, John Carradine is Bob Ford, who killed Jesse James.

The film opens up the themes of the west. At this time there were not only films about the James brothers but Robert Taylor also appeared as Billy the Kid. These were the years of myth-making, just before the outbreak of World War Two. there was criticism of justice in the midwest, the role of the railroad builders and the bankers in dominating the ordinary people, taking their property for their own game, responsible for deaths. The outlaws are seen as vindicating justice rather than as criminals. Over the years there have been many assessments of the Jameses and Billy the Kid including The Great Northfield Minnesota Raid (directed by Phil Kaufmann) in the 1950s as well as American Outlaws (with Colin Farrell).

The Return of Frank James seems an unlikely assignment for German director Fritz Lang, best known for Metropolis and M before he fled the Nazis in 1933. He was to make other westerns including Western Union and Rancho Notorious.

1.American response to the James outlaws and the other outlaws of the mid-19th century? Overseas response? Heroes, villains, criminals?

2.The changing attitudes over the film history of the presentation of the outlaws? In favour? Critiques?

3.A film of 1940, the colour photography, the western settings? The ethos – America on the verge of World War Two?

4.The introduction, the killing of Jesse James at home, shot in the back by the Ford brothers? The Fords and their capitalising on this, their fame, the theatrical performance – as seen by the audience and watched by Frank? Bob Ford and his boasting, his fears, running from Frank James? The final confrontation with Frank and his death? The film’s condemnation of the Fords, especially in the testimony of Rufus Cobb?

5.The portrait of Frank James, the death of his mother, Jesse as an outlaw, the bank robberies, their fame? His retiring, working on the farm? Henry Fonda as the embodiment of the upright American character? His working with Clem? His working with Pinky? The news of Jesse’s death? His going to town, the feelings of vengeance but his control? Clem following him? The robbery, the death of the agent? The presumption that Frank had killed him? The escape, going to Denver, the pursuit of the Fords? The encounter with Eleanor, Clem telling the story? The attraction towards Eleanor? His leaving town, the pursuit of the Fords? His return, the arrest? His getting away, commandeering the train? Going to court, his defence? His being acquitted, Eleanor and her concern, a future? The irony of Clem and his attack on Bob Ford, his death? Frank James presented as an American hero?

6.Clem, the death of his father, his working with Frank? With Pinky? Young, inexperienced, feelings of vengeance? Following Frank? Trapping him in the office, escaping with the money? Meeting Eleanor, boasting, telling the story about the death of Jesse James? His participation in the pursuit, on the train? His not being involved in the court case? His trying to kill Bob Ford, his own death?

7.Cobb, his support of Frank? The publications? In the court, his defence – and his playing on the enmity between the North and the South, memory of the Quantrell Raiders, the carpetbaggers? Stirring up prejudice – ridiculing the prosecution? Getting the judge on-side?

8.The Stones, the family in Denver, the father as a publisher, allowing his daughter to be a journalist, her getting the scoop? Its being exposed by the railroad chiefs and the detectives? Eleanor and her continued support of Frank, Pinky and his being executed, her urging Frank to save him? Her father and the paper and the retraction?

9.Runyan, the railroad detective, against the James brothers, his working for Mc Coy? The pursuit of Frank, trapping him in Denver, exposing the story to Eleanor, his being put on the hook literally? His return to the court? Mc Coy, his vindictiveness against the James brothers, Frank taking his money and nobody else’s? His controlling the prosecution in the court? The prosecutor, his performance, his being ridiculed? The judge and his being on-side – and the immediate acquittal of Frank James, Pinky saved?

10.The range of characters filling out the film, in the town, the waiter at the hotel and the message for Eleanor, the preacher passing by, the performance of the death of Jesse James and the audience, the jurors in the court, those attending the trial? A rounded-out picture of a particular moment in American history – with the outlaws?