NIGHTMARE IN THE DAYLIGHT

US, 1992, 90 minutes, Colour.
Jaclyn Smith, Christopher Reeve, Tom Mason, Glynnis O’ Connor, Christina Pickles, Eric Bell.
Directed by Lou Antonio.

Nightmare in the Daylight is a star vehicle for Jaclyn Smith. She portrays a woman with a secret. She has kept the secret from her husband, and a chance encounter with her former husband, who believes her dead in an earthquake, triggers a crisis. Christopher Reeve is the brutal ex-husband, playing against type rather effectively. Tom Mason is the husband, sympathetic and, interestingly, portraying a former priest (as Brian Dennehy did in the Jack Reed series). There is some discussion in the screenplay about priests who leave and get married – and a visit to a priest friend to ask for advice.

The situation seems rather implausible. However, it shows the story of a desperate woman who conceals her identity and creates a new one to escape her former husband. She even has to deceive her father – who, in the climax, supports his daughter. The truth about the matter is not revealed almost towards the end – which means that Jaclyn Smith gives a convincing performance as someone who is denying what actually had happened. An entertaining drama thriller.

1.The plausibility of the plot? The brutal marriage, the decision of Megan to pretend to be dead, a new life, cutting off ties with everyone in the old life?

2.The San Francisco settings, the hotel, the city, the convention? The contrast with the home in Wisconsin? Ordinary America? The musical score?

3.The title, as experience by Megan, Sean as a character from a nightmare?

4.The portrait of Megan, Jaclyn Smith and her television reputation, middle age, married to Peter, her son? Arriving for the convention, a happy family, enjoying the city? The domestic touches? The encounter with Sean, her denials? His following her, her handling of the situation, the violence, being stalked in the street, the authorities in the hotel? Her finally being abducted? Her refusal to tell the truth? Meeting Sloan, Sloan keeping her secret? Sean taking her to her father, her father keeping the secret? At school, her husband being the principal, the harassment? Concern about her son? The final confrontation with Sean, the violent ending? Her father coming to see her, the happy future?

5.Christopher Reeve as Sean, the background of his brutality, his relationship with Sloan, her condemnation of his attitudes? His chance meeting with Megan, the pursuit, the phone calls, stalking? Paying off waiters? The confrontations, his promising that he had changed, his continued brutality and outbursts? Violence towards Sloan? The encounter with Peter, their fighting? With the boy? The authorities and his being warned? His pursuing Megan to Wisconsin, stalking, the final confrontation and the violent death?

6.Peter, former priest, the reasons for his leaving, love for Megan, his son, at the convention, the chance encounters with Sean, the fight? The authorities? Their not being able to do much? Meeting with Sean’s bosses? The return, his asking Megan about the truth, her being unable to tell him? His supporting her – and the happy ending? The young boy, under threat from Sean, love for his parents?

7.Sloan, her friendship with Megan, supporting Sean, wanting to control him? Her not giving Megan away?

8.Sean, the convention, preparation for the presentation, his being distracted, his pursuit of Megan, lying to his bosses? Their reactions, the meeting with Peter?

9.A telemovie for entertainment, interest, plot, an insight into a dysfunctional marriage and its aftermath, a well-functioning marriage?

DIFFERENT FOR GIRLS

UK, 1996, 97 minutes, Colour.
Steven Mackintosh, Rupert Graves, Miriam Margolyes, Saskia Reeves, Charlotte Coleman, Lia Williams, Robert Pugh, Philip Davis.
Directed by Richard Spence.

Different for Girls is a serious look (with some touches of the tabloid) at the experience of a transsexual learning to cope after the operation. It is quite a low-key treatment, the screenplay using situations that would be taken for granted in a more usual case of adjustment and relationships.

A sympathetic teenager has defended against peer attack another schoolmate who later has the sex-change operation. Seventeen years on they meet by chance. He has not done much with his life and is a motorbike courier in London. She, on the other hand, has a good job in a greeting card firm.

The film acknowledges an awkwardness, shared by the audience, of confronting this reality, doing so with emotional insight.

1.A London drama? Gender drama, comedy? Transsexuals? A serious and comic examination of themes and characters?

2.The London settings, flats and homes, workplaces, the greeting card company, the messenger service? The use of the city as background and as character? The musical score?

3.The credibility of the plot, the characters? Karl, the prologue, in the shower, his gender issues, being taunted by the boys, defended by Paul Prentiss? The taunts? The background to his sex operation?

4.Karl as Kim, Steven Mackintosh giving a convincing performance? Her work at the greeting card company, relationship with Pamela, Alison? Her skills? The chance encounter with Paul, the cab driver, the crash? Her concern? Their recognising each other? Paul and his surprise? Her accepting his invitation to go out, her response to his curiosity? His performance, exposing himself, the arrest? Her dread of going to the police, their reaction in the van, the skirt and the hands, harassment? Her not wanting to go to court? The clashes with Paul? Her relationship with her sister, letting her sister have her apartment? Going to her, the discussions at table, Neil and his reactions? Children? Her discovery of the relationship between Neil and his wife, the father of the child? His talking frankly with her, her support? Going to work, being absent, the reaction of the people at work? Going to the courts, her courage, testifying? The officer and his being found guilty of harassment? Her relationship with Paul, the sexual encounter, at home, her not wanting to be his mother? The story sold to the tabloids, the reaction at work? The money, the irony that Kim had told Paul to sell the story? The support of the women, Alison and her having to step down and photocopy, a future in herself, with her family, with Paul? An empathetic portrait of a transsexual and her experience?

5.Paul, defending Karl at school, not being able to keep down jobs, messages, the crash? The encounter with Kim, curiosity, going out, the questions? His being drunk, exposing himself, the arrest? Being desperate, trying to find Kim, wanting her to go to court? The discussions with the defence solicitor? His response to her coming, the night with her, staying with her? Selling the story, the results – and his future?

6.Jean, wanting to use Kim’s flat, her relationship with her husband, his being in the army, accepting Jean’s child, his love for his wife and the child? His anger, taking it out on the recruits and their training, the authorities coming down on him? Calming down, the reconciliation with Jean? Acceptance of Kim?

7.Pamela, at work, kind, supporting Kim? Alison and her ambitions? The job, the cards, the verses, the phone calls?

8.The defence solicitor, her support of Paul, getting the help of Kim?

9.A gallery of ordinary London characters, cab drivers, the pubs, shops, workplace, the courts?

10.Insight into a problem and characters that ordinary people generally don't come across?

GUNMEN

US, 1994, 96 minutes, Colour.
Christopher Lambert, Mario van Peebles, Dennis Leary, Patrick Stewart, Sally Kirkland, Richard C. Serafian.
Directed by Deran Serafian.

Gunmen is an action thriller – with somewhat nasty touches. It begins with a bride being buried alive by her crippled tyrannical husband (played by Patrick Stewart). It is a film about dishonour amongst thieves.

Christopher Lambert portrays the brother of a drug dealer and a money launderer who absconds with four hundred million dollars. Mario van Peebles is a drug enforcement agent who teams up with him in order to recover the money. Dennis Leary, at the beginning of his career as a film star, is a particularly nasty Irish American villain. There is a cameo for Sally Kirkland and for the father of the director, Richard C. Serafian.

The setting is Latin America, has some stereotypic characters, especially military and drug-dealing thugs as well as exotic locations. It is the type of material that is made as straight-for-video action.

1.The appeal of this kind of film? Potential audience? Men? Action fans?

2.The Latin American settings, the resorts, the towns, the ocean? The action sequences? The jungles? Musical score?

3.The title, the reference to Dani and Cole, to Armor and his cohorts? The irony of the boat being called Gunman?

4.The opening, Loomis and his burying his wife, his wanting the money back, commissioning Armor? The irony of Armor betraying him, coming back and burying him alive? Loomis’s character, sinister, British, greedy, crippled? His last words from the grave – and condemning Armor to a similar fate?

5.Dani, in prison, eating the insects, broken out, the ride with Cole, the buddies, uneasy friendship – the pursuit, in the jungle, over the cliffs, diving from planes, getting the deal with the pilot? Shooting each other in the leg, rescuing each other? Trying to find out the name of the boat? Dani as a character, unable to read, shrewd, ignorant, befriending Cole, the clash with Armor, the finale and the finding of the boat? Cole, from the New York neighbourhoods, black, an agent, tough, the memory of his father (and each of them remembering their childhood)? Tough, betrayed by the agents? The shoot-out, the explosion of the boat, the recovery of the money? Their future?

6.Armor, Irish American background, completely ruthless, interrogating the man about the money, shooting him, his wife? His attitude towards the little girl – and the irony of Dani and Cole giving the money to the nuns who took in the little girl? Armor’s gang, tough, betrayals, shooting?

7.The agents, the chief, his seeming to be on the side of the villains – and the irony of the betrayal by his fellow worker, his being shot? The agent, his greed, with Armor, trying to get the name of the boat, going over the balcony?

8.The scene with the gun dealer, the irony of her being an American woman, the deals?

9.Action, violence, drugs, money laundering, betrayal, violence? Nastiness? The reality that this kind of work requires tough agents on the side of the law?

ODETE

Portugal, 2005, 101 minutes, Colour.
Joao Carreira, Anna Cristina de Oliveira.
Directed by Jao Pedro Rodrigues.

The publicity caption reads, ‘Love can conquer death’. The way that it works out in Odete is not what audiences would be expecting.

Director Rodrigues is interested in gay themes as in his Cannes 2000 entry, O Fantasma. Odete begins with the accidental death of a gay lover (Pedro) and his partner’s grief. However, the action centres on a supermarket clerk, Odete, who is desperate to have a baby but her boyfriend refuses. Something snaps and when she learns of the death of the young man, a neighbour, she creates a new life for herself, claiming a close relationship with his mother, taking his ring, throwing herself on his grave and then her hysteria creates a phantom pregnancy. Meanwhile the partner grieves, picks up one night stands, and is suicidal (to the frequently played melody of Moon River).

The encounter between Odete and the partner, Rui, is initially one of clash. Something of a friendship begins – but she moves into Pedro’s room, wears his clothes, styles her hair and becomes Pedro. It is the kind of film that has a bizarre sexual ending between Odete as Pedro with Rui and the ghost of Pedro looking on – which is followed by the dedication of the film by the director to his parents.

1.Portuguese cinema? For Portuguese audiences, worldwide audiences? The cities of Portugal, the people?

2.The blend of realism and fantasy? Passion and madness? The use and recurring use of Moon River?

3.The title, the focus? Pedro and Rui?

4.The kiss – leading to the accident – leading to Odete and watching? Waking, ringing, the grief?

5.Odete at the market, the babies, touching? The boyfriend? Ousting in hysteria?

6.The grave, jumping into the grave? The mother? Pregnancy and care? Rui, the cemetery, anger?

7.Odete and the pregnancy, buying the pram, the clothes, the experience in the shop? Moving into the house, moving into the room and making it her own? The phone and the calls? Her clothes – and changing her hair?

8.Rui and the baths, the pick-up club? Odete, the grief? Breakfast? The death? The cemetery and the slashing? Hospital?

9.The return, anger, hospital? The truth? Running?

10.Her turning into Petra? The ring and giving it?

11.The characters of the men, relationships, homosexuality? Odeta and her madness, watching? Each of the characters? Odete intruding into the man’s life? The effect on him?

12.The image and reality? Passion and madness?

FREE ZONE

Israel, 2005, 90 minutes, Colour.
Natalie Portman, Hana Laszlo, Hiam Abbas, Carmen Maura.
Directed by Almos Gitai.

Amos Gitai is prolific, a film every year – and finding his way into festival competition every year.

In one sense this is a modest film, a brief story of three women, one American, one Israeli, one Arab. They interact over a period of twentyfour hours, clashing, moving together, clashing. Much of the action is close-ups and conversations in cars. There is a cinema verite feel about much of the camera work, experiences at borders, sweeps of landscapes and townscapes in Jordan.

The tone is set by a very long take opening the film where we watch Natalie Portman weep and listen to an Israeli song, an allegory of the chain of violence in nature and in humanity that repeats itself. The film ends with the chain happening all over again as the song’s melody is played in the background.

There are a lot of pertinent observations in the screenplay about Israeli- Palestinian relations (for instance, how things would improve if Israelis learnt Arabic as Palestinians learn Hebrew). The film is a cry for peace and understanding as it takes its action from Israel into Jordan and into the Free Zone, the buffer between Jordan, Saudi Arabia and Iraq.

1.The work of Almos Gitai, his film each year and the perspective on Israel, internal relationships, with the outside world? This film and its focus on Israeli- Palestinian relationships? His career, his message for Israeli audiences in the 21st century? For world audiences?

2.The cinema style, the long takes, characters within the car, the different scenes and locations, the superimpositions? Flashbacks? The action?

3.The initial song, Rebecca and her weeping? The status of the song in Israel? Israel’s history? The repetition of the song at the ending? And its being seen in the chain of events?

4.The title, the reality, the ironies? Rebecca and Hana in their experience of the free zone?

5.Israel, its history, relationship with the Palestinians? Hostility and tensions? The repetition of clashes between the two peoples? The possibility of breakthrough? Collaboration? Enmity, language? The significance of the central characters being women? Their role and possibilities for changes of consciousness in Israel, for peace between Israelis and Palestinians?

6.Rebecca, in the car, the long close-up of her face, her weeping? The background of the song? The taxi, her employing Hana? Her lack of decision, the decision to go to Jordan? The insertion of the flashbacks? The mother-in-law? Her relationship with Julio? The talks, the shooting? The two days, the rape? Her reaction to Julio, his work, the military? Her leaving and weeping?

7.The sequences at the border, the Israeli treatment of the women going through? The young recruits and their training? The contrast of being in Jordan? The courtesy of the Arabs?

8.Hana, her character? Mischa? Her relationship with her husband, his work, their financial needs? Her doing the driving? The story of Sinai and the flowers? The experience of the Intifada? The only certainties in their life, their hopes? Dealing with the armoured cars? Taking them to Jordan and their going to Iraq? Hana’s personality, tough and abrasive? What she wanted, respect, not giving?

9.The sequences in Jordan, the service station, the petrol, the coffee, suspicions? The women being lost? Rebecca speaking?

10.Rebecca and New York, her background, character, age and experience? Coming to Israel, not Jewish and not having a Jewish mother? Her experiences, her freedom from family, going to Israel? Sympathy, American? The experience of Palestine? Her changes of consciousness?

11.The meeting with Leila, the phone calls? Leila and her personality, character? The deals with the armoured cars? Leila with Hana – and the Israeli- Palestinian tension? The barter? The time, the vehicle being late? The decision to go to the settlement?

12.Life in the settlement, the men, the fire, the violence, the dispute? The reaction of each of the women?

13.Rebecca, her story? The two hundred dollars?

14.The effect of this experience on Rebecca, her consciousness, understanding of Israel, of the Palestinians? The return?

15.Leila and Hana, symbolising the clashes between Israel and Palestine? Their bickering? The issues of terrorism? Leila and her contacts, the village, the Palestinian cause? Hana, her husband, the financial needs?

16.Rebecca running from all of this – and the audience sharing her experience?

THE MUSIC MAN

US, 1962, 151 minutes, Colour.
Robert Preston, Shirley Jones, Buddy Hackett, Hermione Gingold, Paul Ford, Timmy Everett, Ron Howard.
Directed by Morton da Costa.

The Music Man is a big popular Hollywood musical, although it comes from the period after the heyday of the American musical. Warner Brothers turned on lavish production with wide screen colour for this musical. It is based on Meredith Wilson's stage play, has choreography by Onna White and a pleasant score especially the famous 'Seventy six Trombones'. Robert Preston is always a vigorous actor and brings to Professor Hill a lot of his vigorous panache. Shirley Jones who had been in many musicals, especially Carousel and Oklahoma, is an attractive heroine.

Comedy is provided by such people as Buddy Hackett, Hermione Gingold and Paul Ford. The story of the salesman and charlatan in Middle America provides romance, comedy, and a portrait of Middle America. Direction is by stage director Morton Da Costa who directed the film version on Auntie Mame. To some extent the production was out of its proper time and tried to bring Broadway to the screen. However, it is one of the more successful adaptations from Broadway to the wide screen. It is very entertaining family musical.

Ron Howard (using the name Ronnie Howard) makes an appearance – he was eight at the time. He has the key role of Winthrop Paroo and has the chance also to sing. In retrospect, he seems a very strong screen presence even at that age and was to go on to a career not only in acting but as an Oscar-winning director (A Beautiful Mind).

The film was rethought and restaged for television in 2003. The setting remained the same but some of the issues, especially feminism, were more to the fore. Matthew Broderick seems diminutive in comparison with Robert Preston but he has a strong screen presence and also had a successful career on Broadway – especially with The Producers. There is a little-known supporting cast. However, the cheery spirit of The Music Man remains the same as it did in the original film.

1.A popular Broadway musical? Screen version? Television version? Audiences entertained by the story, the characters, the songs and the choreography?

2.The lavish treatment, production values, the adaptation for the screen – and the echoes of stage presentation?

3.The settings, the early 20th century, American society before World War One? The railroads and the trains, the provincial towns in Iowa and the midwest, the streets, the homes, the shops, the library? The lavish costumes and décor?

4.The range of songs, the popular songs like Seventy Six Trombones, ‘Til There Was You, The Wells Fargo? The number of songs, their insertion into the situations, developments of character?

5.Salesmen in the early 20th century, their reputation, the song on the train, the criticisms of Harold Hill? And his being on the train? The scams, the uniforms for the band? The mayor and his attitudes, welcoming the conman, the people in the town believing the salesman? Their disillusionment and their lynch attitudes? Harold Hill as the salesman in action, his style, charming people, reading them?

6.Harold Hill and his reputation, personality, on the train, in the town, his friendship with Marcellus Washburne, getting the information? Meeting the mayor, playing up to the mayor’s wife? The warnings about Marian? As librarian, as keeping to herself? His proposal about the band, for the children, the uniforms? His cavalier attitude towards people? His not being able to play any instrument? His philosophy of thinking? Meeting Marian, the hostile interactions, her home? Her change, his change? The build-up to the band, the uniforms arriving, his decisions about swindling the people? The possibility of escape? His going to the court, people pleading for him? The arrival of the band?

7.The mayor and his pomposity, needing something to help the town? His believing Harold Hill? Being exploited? The portrait of his wife, her pomposity, lording it over the other ladies? Tensions between them? His being in control? The songs of the mayor, of the mayor’s wife, of the ladies of the town? The other ladies and their performance?

8.The Paroo family, nice, the mother and her welcome, love for her children? Winthrop, his stammer, nervousness? The young girl and her piano lessons and the relationship with Winthrop? His response to Harold Hill, the change, the end and the challenge of the music? His challenge to Harold Hill to stay?

9.Marian, the library, the song Madam Librarian? The choreography in the library sequences? Her work, skills? The book she was promoting – and the criticisms of the kinds of books, the mayor and his censorious attitude, the ladies? Her initial animosity towards Harold Hill, becoming infatuated with him? The dates? Her change of attitude, falling in love? Her songs? Her meeting the salesman and learning the truth? Her decision to help Harold, coming to him in the park, her plea? The happy ending?

10.Tommy, his love for the mayor’s daughter, the dances, the mayor’s attitude, his being the leader of the band?

11.The people in the town, the shops, the county fair, the summer holiday, the good old days? All the details of the cosy midwest?

12.Marcellus Washburne, the comic style, information to Harold, friendship, the crisis and helping him?

13.Harold Hill in crisis, his conscience, whether to leave or not, in love with Marian, going to the court, the hearings, the band arriving, the transformation into the joy of Seventy Six Trombones?

THE MUSIC MAN

US, 2003, 180 minutes, Colour.
Matthew Broderick, Kristen Chenoweth, Victor Garber, Deborah Monk, Molly Shannon.
Directed by Jeff Bleckner.

The Music Man is a big popular Hollywood musical, although it comes from the period after the heyday of the American musical. Warner Brothers turned on lavish production with wide screen colour for this musical. It is based on Meredith Wilson's stage play, has choreography by Onna White and a pleasant score especially the famous 'Seventy six Trombones'. Robert Preston is always a vigorous actor and brings to Professor Hill a lot of his vigorous panache. Shirley Jones who had been in many musicals, especially Carousel and Oklahoma, is an attractive heroine.

Comedy is provided by such people as Buddy Hackett, Hermione Gingold and Paul Ford. The story of the salesman and charlatan in Middle America provides romance, comedy, and a portrait of Middle America. Direction is by stage director Morton Da Costa who directed the film version on Auntie Mame. To some extent the production was out of its proper time and tried to bring Broadway to the screen. However, it is one of the more successful adaptations from Broadway to the wide screen. It is very entertaining family musical.

Ron Howard (using the name Ronnie Howard) makes an appearance – he was eight at the time. He has the key role of Winthrop Paroo and has the chance also to sing. In retrospect, he seems a very strong screen presence even at that age and was to go on to a career not only in acting but as an Oscar-winning director (A Beautiful Mind).

The film was rethought and restaged for television in 2003. The setting remained the same but some of the issues, especially feminism, were more to the fore. Matthew Broderick seems diminutive in comparison with Robert Preston but he has a strong screen presence and also had a successful career on Broadway – especially with The Producers. There is a little-known supporting cast. However, the cheery spirit of The Music Man remains the same as it did in the original film.

1.A popular Broadway musical? Screen version? Television version? Audiences entertained by the story, the characters, the songs and the choreography?

2.The lavish treatment, production values, the adaptation for the screen – and the echoes of stage presentation?

3.The settings, the early 20th century, American society before World War One? The railroads and the trains, the provincial towns in Iowa and the midwest, the streets, the homes, the shops, the library? The lavish costumes and décor?

4.The range of songs, the popular songs like Seventy Six Trombones, ‘Til There Was You, The Wells Fargo? The number of songs, their insertion into the situations, developments of character?

5.Salesmen in the early 20th century, their reputation, the song on the train, the criticisms of Harold Hill? And his being on the train? The scams, the uniforms for the band? The mayor and his attitudes, welcoming the conman, the people in the town believing the salesman? Their disillusionment and their lynch attitudes? Harold Hill as the salesman in action, his style, charming people, reading them?

6.Harold Hill and his reputation, personality, on the train, in the town, his friendship with Marcellus Washburne, getting the information? Meeting the mayor, playing up to the mayor’s wife? The warnings about Marian? As librarian, as keeping to herself? His proposal about the band, for the children, the uniforms? His cavalier attitude towards people? His not being able to play any instrument? His philosophy of thinking? Meeting Marian, the hostile interactions, her home? Her change, his change? The build-up to the band, the uniforms arriving, his decisions about swindling the people? The possibility of escape? His going to the court, people pleading for him? The arrival of the band?

7.The mayor and his pomposity, needing something to help the town? His believing Harold Hill? Being exploited? The portrait of his wife, her pomposity, lording it over the other ladies? Tensions between them? His being in control? The songs of the mayor, of the mayor’s wife, of the ladies of the town? The other ladies and their performance?

8.The Paroo family, nice, the mother and her welcome, love for her children? Winthrop, his stammer, nervousness? The young girl and her piano lessons and the relationship with Winthrop? His response to Harold Hill, the change, the end and the challenge of the music? His challenge to Harold Hill to stay?

9.Marian, the library, the song Madam Librarian? The choreography in the library sequences? Her work, skills? The book she was promoting – and the criticisms of the kinds of books, the mayor and his censorious attitude, the ladies? Her initial animosity towards Harold Hill, becoming infatuated with him? The dates? Her change of attitude, falling in love? Her songs? Her meeting the salesman and learning the truth? Her decision to help Harold, coming to him in the park, her plea? The happy ending?

10.Tommy, his love for the mayor’s daughter, the dances, the mayor’s attitude, his being the leader of the band?

11.The people in the town, the shops, the county fair, the summer holiday, the good old days? All the details of the cosy midwest?

12.Marcellus Washburne, the comic style, information to Harold, friendship, the crisis and helping him?

13.Harold Hill in crisis, his conscience, whether to leave or not, in love with Marian, going to the court, the hearings, the band arriving, the transformation into the joy of Seventy Six Trombones?

WHITE SQUALL

US, 1996, 129 minutes, Colour.
Jeff Bridges, Caroline Goodall, John Savage, Scott Wolf, Jeremy Sisto, Ryan Phillippe, Eric Michael Cole, David Selby, Julio Oscar Mechoso, Balthasar Getty, Ethan Embrey, Zeljko Ivanek.
Directed by Ridley Scott.

Director Ridley Scott established himself as a significant director during the 1970s with his initial feature film The Duellists and then by making Alien and Bladerunner. He had success during the 1980s with such films as Black Rain. However, during the 1990s he had a leaner period with 1492, GI Jane and White Squall. However, by 2000 with Gladiator he had a new lease of life with such films as Hannibal and Kingdom of Heaven.

This is a film about a group of wealthy teenage boys who have a year on an education ship, a schooner captained by Jeff Bridges, assisted by his wife, played by Caroline Goodall.

The captain is stern, interested in discipline – although he leaves the young men to fend for themselves, especially to make their own mistakes in terms of relationships, alcohol, personal confrontations. The students themselves are not particularly interesting. Scott Wolf (Party of Five) is the central character, considered the glue that keeps the group together. Ryan Phillippe, before he became a leading star in such films as Cruel Intentions, Way of the Gun, Antitrust and Gosford Park, has a strong featured role.

The film also shows the pressure on parents and the captain as a substitute parent. Jeremy Sisto is the spoilt son of an impossible father. When a white squall, a sudden storm overwhelming the boat, kills a number of the boys as well as the captain’s wife, there is an inquiry into the competence of the captain and his boys. In the end, the boys realise they have had an education and are loyal to the captain. The special effects for the storm at sea are certainly one of the most interesting features of the film.

1.The work of Ridley Scott? His interest in action? His interest in characters? In strong leadership? Macho perspectives in his film-making?

2.The locations, the backgrounds of the boys and their families? The Caribbean coast, the islands? The film at sea – in calm, especially the white squall and its special effects? The musical score?

3.The introduction to Chuck Gieg, his voice-over, his own story, comparisons with his older brother, his father’s concern, mother’s support? His going off to sea because he wanted it rather than to go to college? His being considered the glue that keeps the group together? His relationship with the captain, with the rest of the boys? His friendship with Gil? His own journey, the relationship with the girls, sexuality? His support of the boys? Of the captain in the storm?

4.The backgrounds of the other boys, their coming to the boat, assembling, the captain having them on deck, the introduction to each? Their backgrounds? Chuck’s comments on them as characters, their needs, strengths and weaknesses? Seeing them together, working together, as crew? How well did the film and the screenplay give portraits of each of the characters – or not?

5.Captain Sheldon, appearance on deck, his experience, his support from his wife, love for his wife? His attitudes towards the boys, towards discipline, working on the ship, their studies? On shore? Reputation? The importance of the meeting with the Dutch girls, the courtesy, the dance? His knowing about the alcohol on board and not acting? His sternness with each of the boys, Chuck and his being at the wheel? Gil and his forcing him to climb even though he had acrophobia? The confrontations with Frank Beaumont, Beaumont’s father, sending Frank away? His relationship with Girard as cook, his sternness with the boys and the criticism of Girard and his wife?

6.Gil, his background, his dead brother and his fall, his fears, crying, the climbing? His friendship with Chuck? Their confrontation of Preston after his cheating, their helping him to read and spell? His success in exams? Their work together, friendship together, supporting each other? Gil and his being trapped during the squall, Chuck unable to help him, his death?

7.Frank Beaumont, his obnoxious father, laying down the law, arriving late, the devoted mother and her inability to help? Frank as spoilt? His sneering attitudes? His becoming friendly with Chuck an Gil, sharing with them? The shooting of the dolphin, its being lethally wounded, the captain and his wanting Frank to finish the work, to batter the dolphin? His inability? His being sent away? Gil and Chuck pleading with the captain? Frank’s later appearance with his father, the court case, his getting the bell, ringing it in loyalty to the captain?

8.Preston, surliness, brutality, forcing Lapchick onto another bunk? His brutal attitude, his skill at diving? His confession of not being able to spell, his changing attitudes, the support of Chuck and Gil?

9.Lapchick, the conflicts with Preston, his place on the boat, taunts? Tod Johnston, friendly, glasses? The sexual encounter after the dance? The injection for the STD? The others and the injections? The importance of his being at the wheel during the white squall, his differences from the captain, his decisions, his confessing to panic during the inquiry? The sketches of the other boys in the group?

10.Alice Sheldon, her love for her husband, support of the boys, wanting discipline but not absolute control? With the medical aspects, studies? Her being trapped, the pathos of her death and her husband watching her?

11.Mc Crae, tough, relationship with the boys, quoting literature, working with them?

12.Girard, the cook, the incident with the Cubans, boarding the ship, the translations?

13.The setting of the times, 1961, the Cuban missiles, the speeches of Kennedy, the antagonism of the Cuban coast guard, the bluffs, boarding, breaking the compass, the captain’s retort about being guided by the stars?

14.The impact of the squall, the way that it was filmed, the behaviour of each of the characters, saving each other, unable to save each other, the power of the storm?

15.The inquiry, the antagonism of Beaumont, Frank supporting his father, the testimony, the cross-examination of the captain, his accepting responsibility, his walking away, Chuck and his pleading for him not to walk away, their taking and sharing responsibility, the boys gathering round the captain in support of him? The effect on Beaumont and the other parents?

16.Chuck’s final comments, the nature of the year’s experience, their being bonded as a community as the captain wanted, their discovering their better selves, the captain and his withdrawing from the sea?

THE CONSTANT GARDENER

UK, 2005, 129 minutes, Colour.
Ralph Fiennes, Rachel Weisz, Hubert Kounde, Danny Huston, Bill Nighy, Donald Sumpter, Archie Punjabi, Nick Reding, Gerard Mc Sorley, Richard Mc Cabe.
Directed by Fernando Meirelles.

Speaking of Justin Quayle’s character, one of the diplomats in the film notes speaks the words that are the title of this article, Justin was self-effacing, courteous and large of heart. The official synopsis of the film describes Justin as ‘…mild-mannered and unambitious colleague’. His garden is called a refuge, a private place, where his heart lay. The director, Fernando Mireilles (a Brazilian who directed the intense look at the gangs in the favellas in City of God) remarks, ‘At first glance, Justin appears very passive. He’s a civilised British gentleman, a polite diplomat who lives by a code.’

In an interview Ralph Fiennes calls Justin ‘a wonderful part, because he goes from being a reticent nice guy to being someone who is forced to confront pretty tough truths about the world’. He then adds, ‘I hope that the audience sees him as a kind of Everyman’.

One does not expect to find this kind of laid-back character prominent in a John Le Carre story. However, since the end of the Cold War and the fall of Communism, Le Carre has had to change the milieux of his novels. He has not changed the structures, the mystery, the conspiracy settings and the intrigue and double-dealings in shadowy worlds. It is just that he now concentrates on different shadowy worlds and on industrial misconduct and espionage. With The Constant Gardener it is the world of one of the most powerful and profitable industries in the world, that of pharmaceuticals. Not only does he dramatise the political and financial deals, he also takes his readers into the abusive world of illicit testing of drugs-in-development, especially on unsuspecting African townspeople and villagers.

This is a long way from the world of Justin, even though he is a diplomat of the British High Commission in Nairobi. He might never have been aware of this world had he not become infatuated with a bumptiously attractive campaigner, Tessa (a feisty Rachel Weisz), married her and brought her to Kenya where she is soon plunged into a cover-up conspiracy. She does not, however, let her shy husband know. It is only when she is murdered (at the beginning of the film) that he begins to open his eyes, move out into her world to solve her murder, gradually realising that he is falling more deeply in love with her after she is dead as he learns more about her.

Justin is a faceless bureaucrat who takes refuge in his passion for gardening, for cultivating and growing, for sense beauty. It is worth quoting Ralph Fiennes again on how he interprets his character. ‘Justin is a passionate – gardener. There’s an internal quietude about gardeners, this sensitivity to watching something live and grow, and caring about how something will flourish and bloom. To me, that was all key to Justin’.

Meanwhile, within, he lives his very subjective emotional life – the crisis will make him realise that he has not developed his rational side very well. In fact, he realises this when Tessa interrupts the speech he is giving on behalf of his absent head and he is at unexpectedly courteous pains to conciliate his adversarial interrogator. It does not take much seduction on her part for him to begin an affair which his proper English background quickly leads to marriage and a loving commitment.

The first challenges for him to begin this development are the suggestions made that his wife was having an affair with a fellow-doctor. He does and doesn’t believe it. But, his need to understand leads him to the truth about his love for his wife, to the truth of what she was involved in and her campaign against a government and company conspiracy, to the truth of his own integrity as a compassionate man. Rachel Weisz makes the comment on how she saw the relationship and its consequences, ‘Because of Justin’s love for Tessa, he goes on a journey of discovery where he reaches a new level of self-knowledge but he also discovers a huge political scandal’.

Justin is moving towards his opposite out-going qualities but Le Carre realises that, dramatically, and in real life, this kind of person will not change the world through up-front leadership but, rather, on a more personal and individual level. He may be defeated by the powers that be, but not morally defeated. The tragedy is, in The Constant Gardener, that Justin is not as powerful as his enemies and he allows them literally to efface him, self-effacing to the last. Except that he has cunningly used his ingenuity to arrange for the exposure of those who needed to be exposed.

It is a tribute to Ralph Fiennes’ skill as an actor that, without changing his appearance very much, he can quietly immerse himself in such different screen characters – think Amon Goetz in Schindler’s List, his television personality in Quiz Show, his romantic English Patient and, more recently, his voicing of the pantomime villain, Victor Quartermain, in Wallace and Gromit in The Case of the Were Rabbit. He has made the reticent Justin Quayle a fully rounded character.

1.The acclaim for the film? A British perspective? African settings? African perspective and universal perspectives? The contribution of the Brazilian director?

2.The work of John le Carre, his writing after his spy stories in the post-Cold War era? His focus on the pharmaceutical industries and their exploitation? The similarities between this kind of conspiracy and those during the Cold War?

3.The style of film-making, the range of techniques, the dazzling style, the variety of colours, bright in Africa, subdued for Europe? Different lenses, hand-held camera? Editing and pace? The mixture of drama, naturalism? Stylised and realism? The musical score?

4.The use of locations, the authentic feel of the film: London, Berlin, Africa?

5.The use of the city of Nairobi, the authentic sequences, the British High Commission, the streets and markets? The broader African locations, the landscapes (like moonscapes)? The villages, the lake?

6.The title, Justin and his hobby, seeing him with his plants, seeds and gardens? His character and his being withdrawn, absorbed in his work? His being blamed for being an abstract gardener and not being sufficiently aware of his wife and therefore responsible for her death?

7.The structure of the film: Tessa and her mission, the crash, deaths and the investigation? Justin and his memories of meeting Tessa, the talk, her questions, the relationship, her proposal, marriage and going to Africa. His identifying the body? Sandy and his reactions? His memories of Tessa, searching for her papers, discovering Sandy’s letter? The further interspersing of memories of Tessa as Justin continued her quest? Justin and Tessa together at the end? The linear aspects of the plot – and the non-linear treatment?

8.The romantic theme, Justin’s reticent relationship with Tessa, wary, withdrawn? Getting to know her after her death, her letters, her work, her protection of him, the video glimpses? His continued devotion to her, realising her love for him, falling in love with her after she died? Giving himself in death to her?

9.Ralph Fiennes’ characterisation of Justin, his background, family, public service? Quiet, withdrawn and unassuming type? Modest, loyal, courteous and large of heart? His plants, garden? His work in Kenya? Knowing the language, the people? His relationship with Sandy? His friendship with Ghita? His work in the United Kingdom, the stand-in for Pellegrin, the talk, pleasant, his taking Tessa’s attack, answers – the relationship, his reticence, her coming on strongly and his marrying her?

10.Justin and his change, growing in love for Tessa, absorbed in Tessa’s quest? The memories of her pregnancy, the baby? His understanding his own identity better as he understood her? The letters and Sandy? (The truth about this in the emails to Ham?), the funeral, wanting her to be buried in the earth and not in concrete? The young boy, the card, his learning about dypraxin? Following the further clues? The pharmaceutical companies? The golf course, the confrontation with Sir Kenneth Curtiss? With Tim Donohue? The staff in Nairobi, the spies, the standover men? The behaviour at the golf course? His going back to England, his passport being taken, meeting Sir Bernard, the lunch, Sir Bernard concerned about his letter and rousing Justin’s suspicions?

11.Ham, Ghita Meeting at the airport, the bonds between them because of Tessa? Going through all the emails? Seeing himself on the streaming video on the computer? The information about Tessa’s work?

12.His going to Germany, the subterfuge, the false passport? The meeting with the activists? The information about the school, meeting the woman, her giving further information and names? His being bashed in the hotel – and the warnings, that he would have the same fate as his wife?

13.His getting back into Africa via Paris and the tourist group? Calling Sandy out of the meal? Sandy and his confessions? Knowing the truth – especially about Tessa, her relationship with Arnold? Arnold and the work, his being homosexual and therefore being falsely accused of a relationship with Tessa? The truth about his being tortured and crucified?

14.Ghita, her help? The discussions amongst the staff, presided over by Sandy? His going to visit the village, the flight, the talk with the scientist, the little girl? His discovering the truth, the need to escape on the plane, running for the plane? The brutality of the raiders riding into the village, burning the huts, shooting people, abducting the children? Another perspective on the precariousness of life in Africa?

15.Justin and his asking to be let down by the lake, waiting for death – the gun, throwing it away (it being the gift of Donohue)? His being shot by the killers?

16.Sandy, his background, his work, the infatuation with Tessa, writing the letter? His relationship with Gloria? Seeing him at home, the meals? Presiding at discussions at the High Commission? His identifying Tessa’s body and being sick? The truth of his double dealings, the report, Sir Bernard? Wanting to hang on to his job?

17.Sir Bernard Pellegrin, his work, the job, his being in the photos with the pharmaceutical companies, the lunch, his letter, his orders for Tessa’s death? The double standards and his eulogy for Justin? The final letter and Ham reading it – and his hurrying from the church?

18.Ghita, her place in the High Commission, her help, the car?

19.The staff in Nairobi, the standover characters, the spies – and Justin being frightened as he drove and was pursued, the irony of his talk with Tim Donohue on the cliff, Donohue’s cancer, giving him the gun? His warnings?

20.Sir Kenneth Curtiss, his company, the millions of dollars to be made, his showing Justin the site for the buried bodies?

21.The pharmaceutical companies, the millions of dollars to be made if there were plagues and infections?

22.An intricate screenplay, heroics, pessimism? Causes and martyrs? Le Carre’s final comment at the end of the film in talking about the fictitious nature of his work – but it being real?

KILLERS IN THE HOUSE

US, 1998, 90 minutes, Colour.
Mario van Peebles, Holly Robinson Peete, Michael J. Pagan, Hal Linden, Andrew Divoff, Laurie Triolo.
Directed by Michael Schultz.

Killers in the House is a good thriller. It has a familiar story but is treated very well. This may be due to the writer Ehren Kruger who was to go on to write a number of very successful thrillers during the first decade of the 21st century including adaptations of the Ring films and the Brothers Grimm. The film was directed by veteran Michael Schultz, director of a number of popular films of the 70s and 80s including Sergeant Pepper’s Lonely Hearts Club Band and Carbon Copy.

Mario van Peebles, a celebrated director himself, is the heroic father. Holly Robinson Peete is his strong-minded wife while Michael J. Pagan is their resourceful son. The film also includes Hal Linden in the cast as a lawyer and there is a rather menacing performance by Andrew Divoff as the head of a group of bank employees who ruthlessly rob a bank and take refuge in the house which has just become the property of the family. Laurie Triolo is menacing as a ruthless bank clerk-turned robber.

The film is set in north-western California, is set in a huge mansion during a thunderstorm where the thieves take refuge and menace the family who have just moved in. Nothing new, but plausible and entertainingly done.

1.The popularity of this kind of thriller? Audiences identifying with the characters, the situations? Relief that they have never been in this kind of situation? Making comparisons with what might be done?

2.The title, its bluntness, indicating themes, the focus on the criminals, on the house and the family in the house?

3.The family from Los Angeles, the contrast with the countryside of the Californian north? The town, the mansion itself, exteriors and interiors? The atmospheric score?

4.The setting up of the Sawyer family, mother and father, their love for each other, their love for their son, Malik? Getting going on the trip, difficulties with the car, arriving in the town? The information given about their journey, Rodney and his inheriting a house, his never knowing his father?

5.Arthur Pendleton, genial lawyer, the information about the house, the information about Rodney’s father? The inheritance? His father wanting to do something for his son, continually remodelling and developing the mansion?

6.The family going to the house, the meeting with Billy and his worry about being sacked? Looking over the house, deciding to stay the night? The thunderstorm? Arthur and his concern, his return, Rodney giving him enough evidence that there was trouble, his coming back into the house, shooting, his being shot?

7.The insertion of the bank sequences, the staff at the bank, the end of the day, the sudden robbery, the bank clerks turning robbers? The attempt at a getaway, the shoot-out, Kendall being shot? The drive, the storm, the planes being grounded, their knowing about the house, taking over?

8.The confrontation between the criminals and the family? Rodney using his wits, being overpowered? Jenny using her wits, pretending to be a nurse and tending Kendall, Malik and his unwittingly giving away the information? His hiding, with the money, burning it?

9.The cat-and-mouse activities in the house, the family and their continued devices for escaping, barricading themselves in rooms, Rodney getting out the window, the unbolting of the chandelier?

10.The criminals: Kendall and her ruthlessness, wanting the money, her dying? Breckett and his work, infatuation by Kendall, becoming ruthless, the leader? Madness, taking possession of the house, wanting his money, his reactions to Kendall’s wounding, her death, going out into the grounds with her body? The other two criminals, career criminals, black and white? With the guns, menacing, searching?

11.Billy, his return, the fact that he was Kendall’s brother? His taking sides with the family? The attack, Jenny and her escape, her unfastening the bolts of the chandelier and it crushing the criminals? The final confrontation?

12.The devices used for suspense, hiding and chasing, menacing, weapons and lack of weapons, the using of wits?

13.The aftermath, the house, Billy and Rodney and their building it? The guest house? A happy future?