THE WAR ZONE

UK, 1999, 98 minutes, Colour.
Ray Winstone, Tilda Swinton, Lara Belmont, Freddie Cunliffe, Kate Ashfield, Colin J. Farrell, Aisling O’ Sullivan.
Directed by Tim Roth.

The War Zone is an impressive film, a one-off directorial effort by actor Tim Roth (Rob Roy, The Cook, the Wife, the Thief and Her Lover).

The film is based on a novel by Alexander Stuart who adapted his book for the screen. It is a bleak picture of British family life, focusing on a family who have moved away from London for hope opportunities as well as for work. The teenage children find it difficult to be away from London and in this remote part on the English coast.

Ray Winstone brings his usual buoyant and brusque style to the role of the father. Tilda Swinton is the mother, pregnant and devoted to her children. Lara Belmont is the teenage daughter and Freddie Cunliffe, who is really the centre of the film, is the teenage son.

While there are many scenes that show a happy domestic life, the family has its dark secret. This is a film about incest, on the obtuseness of the father in not admitting what he had done, the effect on the teenage girl, the traumatic effect it has on the boy who broods, confronts his sister, tells his mother and finally violently confronts his father. Freddie Cunliffe is very good at suggesting this kind of introverted torment.

The film is a slice of life, a strong drama, a challenge, even in its visuals, to audiences understanding and responding to the real issues of incest.

It is interesting that the girl’s boyfriend is played by a very young Colin Farrell, billed as Colin J. Farrell.

1.A British slice of life? The work of Tim Roth?

2.The title, its indication of the difficulties in family, family attitudes, conflict?

3.The English coast, the isolated house? The town, the pubs, the hospitals? The bunker on the cliffs? The bleak perspective, the weather, the beaches, the coast and the sky? The musical score?

4.The picture of family life, the possibilities of a happy family, making a new life out of London in the countryside? The reality of the family? Relationships, love, hate? Themes of birth, death, growth, abuse?

5.The suggestions of tension, the tableaux of the family in their main room, in the kitchen, the number of silences, giving the audience the opportunity to reflect on the family and on individuals? Comfort and discomfort for the family – and for the audience?

6.Tom as the focus, audiences identifying with him, his age, wanting to be back in London, preparing for school? His look, pimply, morose? His antagonism towards his father? His tenderness towards his mother? Loving the new baby? His relationship with Jessie, the confrontation, the challenges? His perspective on the family?

7.The details of the home, settling in? The father continually on the phone? Wanting jobs? The mother and her wanting the family to make a go of this new life? In the kitchen, her water breaking, driving to the hospital, her pain? The crash and its effect?

8.The wounded family, the crash as symbolic of what was happening in their family life? The bandages and seeing them as wounded throughout the film, especially the mother? The hospital, the joy of the new baby? The effect of the baby in the house? Later taking the baby to hospital, in the crib, the care for baby and mother?

9.The ordinariness of home life, the meals, the going to the pubs, the discussions? Going to the bunker – Tom, the photos, spying on his sister and father? The father taking his daughter there? The beach, going out with Nick, the walk on the beach, their leaving Tom? Arriving home in the morning and the parents’ reaction? The meals, the father getting the toast and tomatoes for the children? The talk in the home?

10.Jessie, her age, Tom challenging her, her lies? Lucy and her friends, bringing Carol and the possible sexual reaction with Tom? In the bunker, the brutality of her father, her being hurt? Tom’s photos and confronting her? Her bringing Carol to the house? Her relationship with Nick? A way out? Her witnessing her father’s death?

11.Mum, nice, helpful, concerned about her children, Tom and school? The visits to the pubs, relaxing with Dad? Jessie late and her being upset? In hospital with the baby? The shock of Tom’s information – and her reaction against her husband?

12.The father, his rough character, ordinary, workman, tough? His driving to the hospital, the crash? With his wife, in the pubs, talk, concern about his children? On the phone? With Jessie, the brutality of the sexual encounter? Tom and the confrontation, his anger, denials? The father’s shock when Tom stabbed him?

13. Significance of this drama about family, about the reality of incest, the consequences for all concerned? The violence solution? The nature of family war and the war zone?

STONED

UK, 2005, 103 minutes, Colour.
Leo Gregory, Paddy Considine, Natalie Cox, Monet Mazur, David Morrissey, Amelia Warner.
Directed by Stephen Woolley.

By 2005, only aficionados of Rock and Roll history of the 1960s will know who Brian Jones is. After this film, many audiences will feel that they have seen enough about him and, repelled, will not want to know more. For the record, he was the founder of the Rolling Stones, a composer and musician who succumbed to the 60s sex, drugs and rock’n’roll big time, showed very few attractive qualities and was dead, drowned, by the age of 27. At the time, pundits thought that without him that would be the end of the Rolling Stones. Forty years on, those pundits could not be more wrong.

Why a film about such an uninteresting character? A homage? A tribute? A desire to re-create the times? An attempt at analysis of the 1960s? Really, none of the above except, perhaps, a desire on the part of those fascinated by the ethos of the era to go back there.

The screenplay is fragmented in terms of time jigsaw pieces. The visual style aspires to remind audiences of the psychedelic consciousness of those years. We see bits and pieces and, if we care to, we might try to put them together into some coherent whole. But all that would produce would be a portrait of a dissolute young man, seeing him in sex, drugs and, occasionally, music action. Jones is played by Leo Gregory.

The characters who surround him do not ingratiate themselves with the audience either. (We actually see very little of Mick Jagger of Keith Richards.) There is his dominating manager, Tom Keylock who served as an adviser for the film, played by David Morrisey as if he were aping Michael Caine. There is the builder, Frank Thorogood (Paddy Considine) who is placed in the household to remodel his mansion but to keep an eye on him. There are the discontented builders and several available girls, including actress Anita Pallenberg. (Much of the film resembles Donald Camell’s 1970s film with Mick Jagger, Performance.) And, maybe, that is more than most potential audiences need to know, except that the screenplay announces that Thorogood on his deathbed in 1993 confessed that he had murdered Jones in the swimming pool.

1.The impact of the film? Content? Style?

2.Audience knowledge of Brian Jones, of the origins of the Rolling Stones, of lifestyles in the UK in the 1960s? The hedonistic philosophy? Freedom? Sexuality? The perspective of the 60s? Forty years on? Judgments?

3.The structure of the film: the giving of dates and times? A jigsaw puzzle? A satisfying completion of the puzzle or not?

4.The visuals, the psychedelic styles of the 60s, the influence of LSD and hallucinatory drugs? Changes of consciousness? Moving from reality to fantasy and back again?

5.Frank Thorogood and his personality, his being introduced to Brian Jones, the influence of Tom? His work on the house, collaboration with his fellow workers? The work, shifting fences etc? Not being paid? His asking for money, finally going to the office and making demands? The women? His meant to be baby-sitting Brian Jones? The drugs? His growing anger, his being looked down on by Jones? Experiencing the whims? His finally being fired? Not being paid? The anger – and his drowning Jones? The influence of the drugs? His behaviour after the drowning, with the police? Tom and his severing the relationship? The information that he confessed on his deathbed to killing Jones?

6.Brian Jones, his age, his career? The establishing of the Rolling Stones? His musical skills? Composing? His belief in freedom? With the group, alienated? His building the house? His whims and changing things? His times in Marrakesh? His relationship with the women, Anna, Janet? The role of Tom and management? The accountant in London? The relationship with Anita, love for her or not, her love for him or not? Her career? His wasting his time? The drugs, his illness? Separating from the Rolling Stones?

7.The women, Anna, Anita and her career, filming in Germany? Janet and her relationship with Tom, being cast off? Their presence at the time of Jones’s death? The police questioning? The aftermath?

8.Tom, his being made to look and sound like Michael Caine? Good at his job? Installing Frank, getting reports? His turning up and leaving, his control over Jones – and loss of control? Planting Frank? His relationship with Janet and his callous attitudes – yet staying with her?

9.The accountant, the business side of the Rolling Stones, the London office, Jones and his mismanagement of money? Frank and his demands, his being cut off? His visit to the office – and the women laughing at him?

10.The glimpses of the Rolling Stones, Mick Jagger, Keith Richards? Their work, concerts? Collaboration with Jones? His separating from them? The aftermath of his death, the success of the Rolling Stones concert in Hyde Park?

11.Audience interest in this kind of story, memories of the swinging 60s, interest in Jones as a character or not? A wasted life?

TRIAL BY MEDIA (AN AMERICAN DAUGHTER)

US, 2000, 91 minutes, Colour.
Christine Lahti, Tom Skerritt, Jay Thomas, Mark Feuerstein, Stanley Anderson, Blake Lindsley, Lyn Thigpen, Cynthia Harris.
Directed by Sheldon Larry.

Trial By Media is an effective film about the phenomenon of the media making moral judgments on people seeing public office. The film focuses on Christine Lahti as a nominee for the position of surgeon general. Casually, it emerges that she had neglected to ask for dispensation from jury duty. This is picked up by a media outlet, gradually becomes a cause celebre on American television with public opinion moving against her, people perceiving her as cold, as well off, as disdainful and haughty.

The film shows the processes by which a chance remark can be magnified into a national issue. The film focuses on news programs, on talk programs, on gossip programs – and the dire repercussions.

Christine Lahti was nominated for a Golden Globe for her performance. The always reliable Tom Skerritt is her husband. While the film is effective, it bears the marks of a television movie, made for the widest possible audience. It could have been sharper and more hard-hitting.

1.The impact of this kind of film? Entertainment? Raising issues of public figures? Of the role of the media?

2.The Washington settings, the world of the media, the world of politics? The musical score?

3.Christine Lahti as Lyssa, at home, her relationship with her husband, her son? The nomination and her acceptance? Her being in the public eye, her being favoured to be accepted as surgeon general? At home, the party, Moro McCarthy? and his remark about the jury duty situation? Its being picked up by Timper Tucker? The comments by Quincy Quince? The magnification of the issue, on the programs, talkback, the Wives of Indiana etc? Her discussions with Quincy Quince, her suspicions of her, seeing her kiss her husband? Her way of dealing with Quincy? Her friendship with Judith, Judith’s concerns, IVF treatment? Lyssa’s political stances? Her being the daughter of a senator, the presence of the senator, the interviews? The tension with her husband, its being resolved? The interview with Timper Tucker, her going back to the studio, the preparation? Her meeting with Quincy – and Quincy offering to help? Judith and her attempted suicide, Lyssa helping her, Judith’s support? The clashes with Moro Mc Carthy? The interview, the hard-hitting questions, her frank answers? What she achieved in the interview? The turning of public opnion? Her decision not to run for office? Seeing her finally with Judith and her assisting the patients in the clinic? The portrait of a strong woman?

4.Walter, author, his pride and his love for his wife? The encounter with Quincy, the discussions of the past, her exploiting him, the kiss? His reaction, trying to make peace with Lyssa? His continued support?

5.Timper Tucker, his reputation during the Vietnam war, his interviews, presence at the party, picking up on the jury duty issue, using it in programs? His giving time for Lyssa, explaining the interview, the kinds of questions he asked and her answers? Moro Mc Carthy and his work on the media, friends with Lyssa and Walter, his raising the issue, the consequences? His trying to make peace?

6.Quincy, her attitude, studies, books, attitudes towards feminism, the modern woman? Her snide attitude towards Lyssa? The encounter with Walter? Lyssa and her treatment of her? Her going on talk programs, supporting Lyssa? The discussion at the studio?

7.Judith, long friendship, IVF, her depression, trying to drown herself, coming back to Lyssa? Support, working with her at the end?

8.Lyssa’s father, his reputation, different political opinions, his support of his daughter? His new wife?

9.The drama of the interview on television, her father coming, Walter and her son? The interview focusing on them as well?

10.The background of the media, the talk shows, the gossip shows, baking cakes – and talking gossip? Veronica and Lyssa’s reaction, her son’s reaction? The television personalities – and behind the scenes?

11.The president, his support, his not responding to Lyssa after the media interviews, accepting her resignation?

12.The importance of this kind of film to raise questions about media and media protocols with the wide audience?

INCIDENT IN A SMALL TOWN

US, 1994, 85 minutes, Colour.
Walter Matthau, Harry Morgan, Stephanie Zimbalist, Nick Stahl.
Directed by Delbert Mann.

Incident in a Small Town is a telemovie follow-up to the 1992 Against Her Will: Incident in Baltimore. The film focuses on a lawyer and a judge, law partners who become involved in a case with the judge’s daughter.

The daughter is estranged from the judge, has a young child from a violent rape during World War Two. When the husband returns, he menaces the family and is killed. The judge is accused of murder.

The film focuses on the court case, the testimonies, some twists with different people taking responsibility for what really happened. Walter Matthau is at ease as the lawyer. Harry Morgan is earnest as the judge. Stephanie Zimbalist, who had some fame on television with Remington Steele with Pierce Brosnan, is the mother and a very young Nick Stahl (Man Without a Face, Bully, Sin City, Terminator III) is the young son. Veteran Delbert Mann (Oscar winner for Marty) directed a number of very humane telemovies during the 70s, 80s and 90s.

1.The appeal of this kind of television movie? The characters, the situations? A murder mystery?

2.The setting in the 1950s, the small town, the slower way of life? The streets, homes, décor? Musical score?

3.The focus on Harmon Cobb, Walter Matthau’s style, lawyer, partner with the judge? His laconic way of responding to people? The character of the judge, his reputation in the town? The decision for them both to go to Lily’s help?

4.The situation in the small town, Lily and her son John, domestic life? The return of Frank Trenton? John and his eagerness to see his father? Lily and her resistance? Lily as a strong character, trying to protect her son? Her concealing the truth about the rape and his conception? Trenton and his pressures on Lily? The getting of the restraining order? His plausible manner? His appearance in the court? The sudden news of his death? The judge’s arrest? Lily and her presence in the court, her then taking the blame for killing Trenton? The testimony? Her not allowing the information about the initial rape to be brought forward to protect John? Her claiming that she killed her husband? The eyewitnesses? The gradual revelation of the truth, protecting John, his version of what happened? His killing his father? His knowing what had really happened in the past? Lily and the bond with John?

5.John, his age, in the town, the paper round, relationship with his mother? Eager to see his father, turning against his mother for her attitude? His reaction to the court case, to Harmon Cobb, to the judge – antipathy? The gradual mellowing? His helping to get the addresses for potential witnesses? The truth, his seeing Trenton attack his mother, hitting him, killing him? The judge’s final summation and the prosecutor making clear to him what had happened?

6.The restraining order, Harmon Cobb and the local police and their lackadaisical attitude? In the court? His being unable to use the key testimony? Antagonism with the presiding judge? Friendship with John, support of Lily? The revelation of the truth?

7.The judge, his being accused of murder, his description of what happened? His shielding Lily? His attitude in the court, wanting to interfere?

8.The local judge, the presiding over the case? The prosecutor and her inexperience, Cobb and his support of her?

9.The atmosphere of the town, the witnesses, the police? A quieter time in the 1950s?

HARRY POTTER AND THE GOBLET OF FIRE

UK, 2005, 157 minutes, Colour.
Daniel Radcliffe, Rupert Grint, Emma Watson, Ralph Fiennes, Eric Sykes, Timothy Spall, David Tennant, Mark Williams, Jeff Rawle, Robert Pattinson, Jason Isaacs, Tom Felton, Stanislav Ianevski, Robert Hardy, Roger Lloyd Pack, Matthew Lewis, Robbie Coltrane, Michael Gambon, David Bradley, Warwick Davis, Frances de la Tour, Maggie Smith, Alan Rickman, Brendan Gleeson, Miranda Richardson, Gary Oldman, Shirley Henderson.
Directed by Mike Newell.

Book and film the 4th. I like this one best. The first two saw Harry, Ron and Hermione as younger children and the films were geared to the younger audiences who identify with the characters and their adventures. The third was darker, with sinister happenings. Now they are fourteen, the stories not for the younger children but rather for their peers – and adult audiences will also enjoy this.

For a while, controversy surrounded Harry Potter and the issue of magic. This is not a world of witches and warlocks. Rather, it is a world of wizards. Computer language likes the name ‘wizard’ for some of the marvellous things computers can copy and fix. And, since 2001, wizards seem absolutely respectable because of Gandulf. No one imagines that Tolkein’s world actually exists and nobody is bothered by the mythologies he weaves nor with the magic and spells. They belong to a fantasy world, a world so different from our own. Harry Potter lives in a similar kind of imaginary world. If anyone mistook this world for a real world, that would be a worry – and some anxious campaigners spoke about the Potter world as if it were real and condemned it.

By now, we can all sit back and enjoy the wonderful adventures.

The other point to be made is that with the children now as young teenagers (and Daniel Radcliffe, Rupert Grint and Emma Watson have themselves grown older as each new film has been made), they are at the age for what we call ‘rites of passage’. Adulthood and adult responsibilities are just around the corner.

This means that, although the trio are a bit gawky and not too versed in the ways of the (real) world as they excel at lessons and magic, they have to become aware of attractions towards the opposite sex, mood swings and suspicions and tensions for friendships, and learning to be more mature. This aspect is one of the best features of the film, raising all the questions well but quietly and subtly – and, for us, amusingly. Asking partners to go to the Yule ball, learning to dance and knowing the protocols of the ball make strong demands on them.

The rites of passage are also seen in the ‘quest’ theme of the film. Harry dreams of threats by Lord Valdemort and, ultimately, has to confront him. It is a clash between evil and good. On the way to this finale, Harry has to go through tests, an equivalent of initiation in other cultures. The Goblet of Fire is the instrument for naming the three entrants in the Triwizard competition. Age-wise, he is too young to enter but the Goblet reveals his name.

The three tests are symbolic (but made vividly actual with top special effects). The first is a confrontation with the wild side of nature, a battle with a dragon. The second is to plunge into the deep and rescue close friends despite the water perils and the attacking mermaids. The third is to find one’s way through a dangerous maze to the light. Psychologists are really going to like these symbols from J.K.Rowling’s imagination.

Not only does Harry come through (that does not, of course, spoil the ending), he shows himself courageous beyond his years, selfless in saving others even though he is momentarily tempted to self-promotion. He is a boy with a sense of responsibility and a generous spirit. It is a tribute to Daniel Radcliffe’s staying with the role and credibly showing Harry’s development as a boy.

The large British cast is excellent with the regulars like Michael Gambon, Alan Rickman, Maggie Smith and Robbie Coltrane. Ralph Fiennes makes a very sinister Valdemort. Brendan Gleeson steals much of the show as a wild, one-eyed teacher as does Miranda Richardson as an obnoxiously intrusive reporter.

The numerous special effects and action sequences are better than ever.

1.The popularity of the series? Box office success? The place of this fourth episode? Audience knowledge of the previous films or not?

2.Audience familiarity with the characters, expectations? Situations, magic, Hogwarts? The battles between good and evil? Voldemort? The age of Harry and his friends, questions of adolescence?

3.The locations: Hogwarts School, the castle, the Scottish scenery and settings? The importance of the special effects, the stunts? The musical score?

4.The children being older, the transition from children to adolescents, the physical changes, psychological changes, emotional changes? The three as awkward, learning? A growing sense of responsibility?

5.The title, the focus on the quest, Harry as the chosen one, the rites of passage, Harry using his wits as well as his magic, ingenuity, choices, responsibility and selflessness?

6.The opening and Harry’s dreams, Voldemort and Wormtale, the sinister aspects? The young man and his being drawn into the plot? Harry overhearing but not seeing Voldemort? The recurring dream and its development? Harry finally immersed in the reality of the dream? The confrontation with Wormtale, the confrontation with Voldemort? The transition to the excursion, Harry and his friends, in the woods, Diggory and Cedric? The plan to go back to Hogwarts? The adventures in the woods?

7.Harry, Ron and Hermione, their friendship over the years, the bonds between them, the bonds being tested? Harry and a certain growing independence? His regard for Ron, attraction towards Hermione? Towards the Chinese girl? Ron and its his relationship with Hermione? Hermione and her being attracted towards Victor? Ron and his anger with Harry and his entry into the competition, the reconciliation and apology? The plans for the dance?

8.The opening game of Quidditch, the arena, the crowds, the international groups, the Bulgarians? The girls’ team? The action in the air? The arrival at Hogwarts, the reception of the new students? The impact of the Bulgarians? The girls and their mistress, their uniforms, walking, Ron and the attraction?

9.The presence of the staff, at the reception? The character of Dumbledor, being in charge, the events and his bewilderment, the memories of Voldemort, Harry’s name emerging from the goblet, his advice for him? Using Harry to bait Voldemort? Professor Mc Gonagall, Maggie Smith’s presence and style, very proper, dealing with the adolescents, her guidance, decisions? Severus Snape and his appearance, Alan Rickman’s style, seeming sinister yet caring for the students? His spells? His clip-over-the-ear sense of discipline? Mona and her appearance, her advice for Harry? Argus Filch and his continued presence, assistant to Dumbledor? Hagrid and his benign presence, his attraction towards Madame Maxine? At the dance? Audiences familiar with these members of the staff?

10.The range of students, Malfoy and his son, the sinister presence? Ron Weasley’s twin brothers and their sense of daring? Neville Longbottom and his lugubrious appearance, his sense of daring, friendship with Harry, the dance at the ball?

11.The importance of Alastor ‘Mad Eye’ Moody, his arrival, appearance, screen presence? His experience, the ministry? His classes and his full-on approach? His roving eye? His befriending Harry, coaching him? The various tests? The irony of the revelation that his place had been taken? His being imprisoned in the trunk? His release?

12.The test, the goblet of fire? The ritual, the age limits? Cedrid and his being chosen? The girl and her being chosen? The nominees – the twins and their trying to enter but being pushed out? The ritual and magic and Harry’s name coming out? His bewilderment, Ron’s reaction? The Bulgarian as a contender? Dumbledor and his accepting the fact that Harry should be a competitor? Barty Crouch and his managing of the contest, the irony of his son being an agent of Voldemort? The build-up to the preparation for the contest?

13.The tests, Ron and his giving Harry advice? The special effects and the fights with the dragons? Harry and his flight, fighting, the rescue? The test in the sea, Harry getting the potion, becoming webbed? The bottom of the sea, the vicious mermaids? The bodies to be rescued, Harry and the sense of time, his rescuing Ron and the girl just in time? Success? The good nature of Victor, Cedric and the girl?

14.The interlude of the ball, classes going on, discussions about partners and invitations, Harry and Ron and their awkwardness, Hermione going with Victor, Harry and his being turned down by the Chinese girl, her regrets? The practice of the dancing? The ball, the formalities, Hermione and Victor? The two eastern girls – and Ron and Harry not dancing with them? Disappointment?

15.The test of the maze, its appearance, the light at the end? Harry and the others and their being lost, Cedric and his being struck down, Harry and his seeing the light, hesitating but going back to save Cedric?

16.Harry and his final confrontation with Voldemort, Wormtale and getting Harry’s blood, reviving Voldemort? Voldemort’s appearance, manner of speaking, evil incarnate? Remembering the murder of Harry’s parents? The build-up to the confrontation, Harry tied up, being freed, his winning the contest against Voldemort – but Voldemort waiting for another day? Voldemort and his henchmen, especially Lucius Malfoy?

17.The end, the transition to the next adventure? The way that the three adolescents had grown? The bonds between them? Harry and his growing sense of responsibility as he becomes an adult?

LASSIE

UK, 2005, 100 minutes, Colour.
Samantha Morton, Peter O’ Toole, Hester Odgers, Peter Dinklage, Steve Pemberton, John Lynch, Jonathan Mason, Gemma Redgrave, Edward Fox, John Standing, Angela Thorne, Brian Pettifer, Kelly Mc Donald, Robert Hardy.
Directed by Charles Sturridge.

The press notes tell us that there have been eleven Lassie films or television series. And none of them filmed in Britain where Eric Knight wrote and set his story, Lassie Come Home.

Actually, it is over 60 years since Roddy Mc Dowell and Elizabeth Taylor shed their tears over Lassie. They were war refugees from Britain, working in Hollywood, and their film was a wartime morale booster.

The war is still the time frame of the story but veteran director Charles Sturridge (Brideshead Revisited, A Handful of Dust), who also wrote the screenplay, takes his team to Ireland, Scotland and northern England to recreate the Yorkshire and Scotland of the story.

It’s a very nice and enjoyable film, especially with its Christmas setting. In fact, it is somewhat miraculous. The film critics enjoyed it!

The dogs portraying Lassie are marvellous-looking Collies. The little boy (Jonathan Mason) who plays Joe is very little but very believable, Hester Odgers plays Cilla, the Duke’s granddaughter. Joe’s parents, a miner and his hard-working housewife, are played with strength by Samantha Morton and John Lynch. Peter O’ Toole is as eccentric as ever as the Duke. Steve Pemberton (from the League of Extraordinary Gentleman) is one of the most convincing ‘hiss the villain’ types for some time.

The bulk of the story is Lassie’s hard journey from Scotland back to Yorkshire, managing, surviving. There is a very pleasing interlude where she meets a tinker (Peter Dinklage from The Station Agent) but not everybody is kind to Lassie.

It’s hard to go wrong with Lassie. In fact, it’s hard to go wrong with a boy and his dog story. This version of Lassie succeeds on all counts (well, Peter O’ Toole is very mannered – but he means well).

1.The popularity of Lassie Come Home? The story? The sequels? The differing film and television versions over the decades?

2.The film made in the UK, the past films made in the US? The Scottish and Yorkshire settings? Filming in Ireland, Scotland and the Isle of Man? The orchestral score?

3.The re-creation of the period, Britain before World War Two, the attitudes, the status of the duke and his family, the ordinary people, the miners? The boarding schools? The city of Glasgow?

4.The social atmosphere and its re-creation, the world of the miners, the mines and the closure? The duke and his estate, his mansion? The fox hunt? The world of servants? The schools? The contrasting worlds of classes, the meeting of classes?

5.The perennial appeal of a dog story? Lassie and the beauty of the collie? The other dogs in the film, the hunters, the small dogs? Toots? The pets, the training and the breeding? The look of the dogs, Lassie in action? Themes of loyalty, the journey?

6.The hunt, Lassie saving the fox, the fox going into the mines? Hynes and his working for the duke? Cilla and her wanting the dog?

7.Joe, small, his age, at school, daydreaming, being hit with the ruler? The severity of the teacher? Lassie waiting for him, Lassie at home? The poverty of the family, the meals? His reaction to the selling of Lassie? His having to say that he did not want her again, the hurt, the pain? His parents, their characters, poverty, the losing of the job at the mine? Christmas and the return?

8.Cilla, liking the dog, the duke buying the dog, the dog continually running away, burrowing under the net, diving over the cage, the exasperation of Hynes? Cilla going to school, her wanting to run away like Lassie? The Christmas ending – Cilla and her happily giving the dog back to Joe, Joe coming to live on the estate, Joe and Cilla with the dog at the end?

9.The family, hard times, the decision to sell the dog, the father going away to war, the mother staying at home and working, going to the church, the ceremony, the carols? Christmas at home – and the return of Lassie?

10.The duke and his style, his attitude towards Hynes, Daisy and her arriving with Cilla, the hunt, his going to buy the dog, playing cards with Cilla? Resisting Cilla saying he was kind? Offering the job to the father?

11.Hynes as the villain, severity with the dog, hitting with the belt – and his trousers falling down? Seeing the dog at the end, bringing the police? His being fired – and the duke disowning him?

12.Lassie’s journey, Cilla opening the gate, the people seeing him on the way, the police, the duke in pursuit? The potato truck and the accident? The police, Glasgow, her being impounded? The young girl and her kindness, the man helping her – and their becoming a couple? In the court, the judge and his attitude, Lassie escaping? The encounter with Rowli, with Toots, his helping Rowli against the robbers? Rowli letting Lassie go?

13.Rowli, the dwarf, the character, the tinker, with his puppets, the incident with the robbers, his kindness towards Lassie? The killing of Toots, his grieving? Letting Lassie go?

14.Lassie returning home, the vet, her recovering, the staunch devotion?

15.A film that appeals both to children and adults, a family film?

REMEMBER ME (MARY HIGGINS CLARK'S REMEMBER ME)

Canada, 1995, 90 minutes, Colour.
Kelly Mc Gillis, Cotter Smith, Shannah Reed, Michael T. Weiss, Stephen Mc Hattie, Amy Hargreaves.
Directed by Michael Switzer.

Remember Me is an adaptation of a popular thriller by Mary Higgins Clark. A number of her films were made into entertaining telemovies including While My Pretty One Sleeps, Let Me Say I Love You. Of interest, Mary Higgins Clark herself appears momentarily in Elaine’s party scene and introduces herself as Mary Clark.

The focus is on a mother whose son is killed by accident and who subsequently has a breakdown. However, she becomes pregnant again and recovers. She is also a children’s writer. Her husband is a successful lawyer. When they rent a house which her husband wanted to live in while he was growing up, strange happenings appear – including a ghost of a woman who was said to have committed suicide, falling from the roof of the house.

The film is reminiscent of so many films where somebody evil is trying to drive someone else mad. Of course, ultimately the mechanisms are revealed and the villain unmasked. Kelly Mc Gillis (Top Gun, The Accused) is the author, Cotter Smith her husband. Shannagh Reed the seemingly genial estate agent and Michael T. Weiss an accused murderer. Stephen Mc Hattie is the local police officer.

The film is conventional enough, entertaining enough. Mary Higgins Clark writes the American equivalents of Agatha Christie’s Miss Marple stories – generally suitable for most audiences.

1.The popularity of Mary Higgins Clark stories? Characters, murder mysteries, solutions?

2.The New England setting, the house, the town, the coast? The musical score – atmospheric?

3.The title, the focus on Menly – and the ghost of the dead woman?

4.The setting of the family, Menly and her son, the happy sequences, the movies, the story, the crash and the boy’s death? Menly’s grief, Adam and his trying to be supportive? Her recovery? Adam and his support?

5.Adam and Elaine, the past friendship, the renting of the house, moving in? Elaine and her support, her party, her trying to support Scott and get Adam to defend him? Her protests that he was innocent? Her being upset when Menly stopped at the level crossing, the discussion, promising not to tell Adam, but doing so? The suspicions of the chief? Elaine and her being unmasked as the blackmailer, controlling villain? Her arrest?

6.Adam, love for Menly, his work, his absences, his suspicions when Menly was seen on the balustrade? The clash with the chief? His being forced to take Scott’s case, Menly’s support? The final confrontation and being reunited with his wife?

7.Scott, accused of murder, his protests? Menly supporting him? His visiting the house, his getting the photo? His being revealed as haunting Menly, their fight, his fall?

8.Menly herself, her work, signing the books, her research, her love for the baby, for Adam, his absences? Dealing with Elaine? The fear at the level crossing? Her not being on the balustrade? Her research about the house, finding the room, the recorder, being confronted by Scott, her being vindicated? Her strong stances?

9.Amy, the baby-sitter, helping out, working with Menly?

10.Henry and his wife, the ghosts, her Alzheimer's, the visits by Menly and her finding out about the house?

11.The murder mystery, the threats to Menly, the clues being given – the credibility of the solution?

PROFOUNDLY NORMAL

US, 2003, 96 minutes, Colour.
Kirstie Alley, Delroy Lindo, Rosemary Dunsmore.
Directed by Graeme Clifford.

Profoundly Normal is a fine telemovie, focusing on the true story of two mentally retarded people who have been friends in an institution, find that they have to live outside the institution when it is to be closed. The bonds between them lead to love and marriage – even though legislation prevents them from being married. They also experience a crisis when the woman becomes pregnant and authorities warn her about the possibility of her child being physically or mentally damaged.

The film is staunchly pro-life, pro-people who, despite their disabilities, are in the words of the title, profoundly normal. The film was directed by Australian Graeme Clifford (Frances, Burke and Wills) who worked from the 1990s in the US, mainly in television series and movies. The film was written by Paris Qualles, the writer of such socially conscious telemovies as The Rosa Parkes Story, A House Divided, The Colour of Friendship and The Tuskegee Airmen.

Kirstie Alley received something of a career slump after she put on a great deal of weight – and countered by starting a television series about an overweight actress trying to rekindle her career. She appeared in Cheers and other television series like Veronica’s Closet as well as many telemovies. She is matched with Delroy Lindo, a strong presence in such films as The Cider House Rules, Get Shorty and Wondrous Oblivion.

The film raises issues of respect for life, for people who are mentally impaired, for human rights for those who have not the capacity to manage life for themselves or find it difficult.

1.The title of the film? Reference to Donna and Ricardo? The definitions of normal?

2.The American settings, the institution and its way of life, life in apartments, work at Mc Donald’s…? Authentic atmosphere? Credible?

3.The interview technique, Donna and Ricardo being interviewed and telling the story of their lives, their son and his commenting on his mother and father? The interviews interspersed throughout the film?

4.The institution, the management, its being closed down – and the glimpses of physical and sexual abuse in the past? The nature of institutional life, for the staff, for management? For the residents, the regimentation of their lives, control, their taking orders? The sympathetic members of the staff like Charlotte?

5.The glimpses of Ricardo and Donna as children, their being put into the home, Donna being left by her mother, the foster people having to surrender her? Ricardo and his not knowing that the young silent girl was his sister? The glimpses of them in the institution as children, Donna and her friendship with Margaret, Margaret’s greater disabilities? The scene with Ricardo and the ball and the embrace of his sister? The sexual abuse sequence and the consequence for the funeral? Donna and her being in trouble, the harsh interrogation, the kindness of Charlotte?

6.The opening, Donna as an adult in the institution, her appearance, way of speaking, coping with life, her friendship with Margaret, Margaret’s disabilities and dependence on Donna? Ricardo in the kitchen, his talking with his fellow cook, the challenge to approach Donna? His kissing her hand, the encouragement of Charlotte and her introducing them?

7.The movies, watching the kissing of the hand, the bond between Ricardo and Donna? Their having to leave? Donna and the setting up of the apartment, her abilities, her trying to cook, the scenes in the supermarket, the party and her making the mustard balls? Margaret and her dependence, her fears, the tantrum in the supermarket, her not wanting to come out of her room, her fears when Ricardo was knocking on the door? Margaret and her eventually having to leave, her inability to cope? Her putting herself down? Donna and her being able to manage – although the difficulty of going to Mc Donald’s, not getting out at the right bus stop? Her work at Mc Donald’s – and Ricardo’s visit?

8.Donna and the freedom of the apartment, being able to build up her own life? Ricardo and his greater ability, to read? The flashback where he was asked whether he could name three cities – and his silence and nervousness? Yet his intelligence? His helping with the party?

9.Ricardo wanting to stay the night, Donna’s reaction, the proposal, seeing themselves as married? The applications for marriage, the discussions by the bureaucracy, Charlotte’s appeals, their being turned down? The decision to go ahead, the ceremony, Margaret and Charlotte present, the other friends from the institution?

10.Their memories of the honeymoon, Donna’s pregnancy? The training for birth, the effect on Donna? Her moods, not wanting Ricardo to go to his basketball match? Charlotte’s support? The discussions about the possibilities of illness for the child, the possibilities of abortion? Her choice to have the baby? The birth sequences?

11.Their son, growing up, his being part of the interviews? His perspective on his parents? His giving the statistics about one in ten children being retarded? His discussions with his father about exams and studies?

12.A film with a positive outlook on life, the quality of life for people who are in some ways impaired?

JOYEUX NOEL (MERRY CHRISTMAS)

France, 2005, 116 minutes, Colour.
Diane Kruger, Benoit Furmann, Guillaume Canet, Gary Lewis, Danny Boone, Daniel Bruhl, Alex Ferns, Ian Richardson.
Directed by Christian Carion.

What could be more appropriate for a film review on the first day of 2006, in the spirit of Christmas and the celebration of the motherhood of Mary, than Merry Christmas. It is a film about Christmas with a message that is still important for today.

Merry Christmas is an international collaboration between France, the UK and Germany, with scenes filmed in Romania. Its setting is World War I, especially Christmas eve and Christmas day, 1914. The bulk of the film is spoken in French (with English sub-titles). The Scottish characters speak English and the Germans, German.

Stories have long been told of how the troops in the trenches, often only four or five metres apart, sometimes fraternised during lulls between bombardments. This story focuses on a French troop, a Scottish troop and a German troop. We are given something of their background, the harking back to the styles and codes of 19th century warfare by the French officers who had little understanding of what fighting in the trenches was like. It was the same with the German officers who enjoyed lavish meals and listened to opera singers while their men were in the bitter cold of the trenches. The Scottish story is somewhat different. Two brothers eagerly join up while their parish priest becomes a chaplain. One of the brothers is killed and the other becomes bitter. The chaplain is a fine man and a compassionate minister.

When husband and wife opera singers visit the German trenches, they hear the Scots playing their bagpipes. The tenor sings Silent Night and the bagpipes then accompany him. The result is that all the troops come out of their dugouts, join in the singing, listen to the soprano sing Ave Maria, exchange food and drink and attend, all together, a midnight service led by the chaplain. The screenplay is very strong in highlighting that this is truly the Christmas message of peace on earth to all people of good will. The German officer is Jewish and explains that this is not part of his religion but that he was very glad to be able to share in it.

The officers call a truce on Christmas Day and the men once again show their common humanity. Some play football, others cards. Addresses are exchanged for meetings after the cessation of hostilities.

Had the film ended with this joyeux noel, this merry Christmas, it might have seemed rather sentimental, even though there are records of this kind of fraternisation happening. (The director has pointed out that photos appeared on the front pages of British newspapers of the time but that the French concealed these happenings.)

To our dismay, the final part of the film presents the official reaction to what the authorities call treason and conduct unbecoming soldiers in war – even ludicrously condemning the cat who moves from trench to trench. The Germans are humiliated by commanding officers and sent to the Russian front. The French would like to execute the men for treason but 200 is too many, so they are transferred to Verdun. The Scots chaplain is visited by his bishop who lectures him on the text that Jesus came not to bring peace but the sword and gives a sermon to the troops on the war being a crusade, on the inhumanity of the Germans and, in the name of superior culture and civilisation, urges the men to kill Germans, all of them.

Director, Christian Clarion, has said that he would like his film to be screened in every country which is involved in war. His humane film, classical in its cinema style, is a wonderful appeal to promoting a culture of peace rather than putting a priority on a crusade of destruction. It appeals to the deepest message of peace from the Judeo- Christian tradition and the Gospel teaching of Jesus.

1.The title and expectations? A truly Christmas film?

2.War and peace, the Christmas message for peace? As perceived at the beginning of the 20th century? A message for the 21st century?

3.The facts of the fraternisation between the troops in the trenches in France? The interpretation at the time? Condemnation in France and cover-up? Photos on the front pages of British papers? The interpretation in the light of the subsequent wars of the 21st century? Of the invasion of Iraq in the 21st century?

4.The locations, the authentic feel, the world of the trenches, the physical appearance of the trenches, the autumn and winter seasons? The background of the bombed village?

5.The picture of World War One, the bombardments and the shattering sounds?

6.The musical score, the operatic songs, the Christmas songs, patriotic songs? The unification and fraternisation for peace because of singing?

7.The pre-war situation in France, Germany, Scotland? The differing attitudes? The enlisting? The enthusiasm of the Scots? The war-weariness of the French? The compulsory enlistment of the Germans? The officers, their arrogance and their style? Harking back to the 19th century waging of war? The cavalry, codes of honour? The private soldiers, their lives in the trenches? The work of the chaplains?

8.The Scots sequence, the two brothers, painting the statues, the priest? The enthusiasm of going to war? The priest and his sadness? The experience of war, in the trenches, the chaplain there? The death of the brother, the other brother and his grief? Feelings of vengeance? The body lying in the mud, the brother feeling that he had deserted his brother in his dying? Going back to the body, kissing the body, trying to break the ground to bury the body? The final burial? His shooting what he thought was a German?

9.The French, the officers, the high style of life, career military people? The general and his son? The French cut off from their families? Their style?

10.German society, the opera, the announcement of the war? The conscription and Nikolaus Sprink being called up?

11.Life in the trenches for each of the groups, the contrast with the life of the officers? The mud, food, the rats? The comradeship in the different trenches?

12.Christmas Eve, the opera singer and his meeting his wife, singing for the officers? The decision to go to the front – and his later being blamed and considered in some ways guilty of treason?

13.His singing in the trenches, Silent Night? The Scots and their singing, playing the bagpipes to Silent Night? The German trees and their lights? The commander and his resistance? The Germans coming out after the opera singer, standing on the snow?

14.The French, the feast and champagne? Their reaction to the songs? Puzzle?

15.The Scots, comradeship, singing their patriotic songs, the Germans hearing them, their joining in Silent Night?

16.The various troops going out into the no man’s land, the opera singer and his wife, the songs, meeting? The chaplain and everybody combining in prayer? The spirit and message of Christmas? The celebrations afterwards, the champagne, sharing of gifts, addresses? The Scotsman and his looking for his brother – and the German who was not pious? The moments of tension and the possible outbreak of violence? The role of the chaplain and the significance of his celebration?

17.Christmas Morning, the truce, the officers going out, the discussions, the cup of coffee, the decisions? Playing football, playing cards? The exchanges, asking for letters to be posted?

18.The singers, going back into the trenches, the help of the commander, their going to the French and asking to be made prisoners, wanting to spend the war together in prison rather than being separated?

19.The aftermath for the French, the authorities reading the letters and being horrified at the fraternisation? The Scots and the bishop talking to the chaplain, his fire and brimstone sermon, his talk about civilisation, the urge to kill Germans in the name of Christ?

20.The French, the discussions with the German commander, his having a French wife, knowing the street where the Frenchman lived, the wallet being returned, the sharing of photos? The father accusing his son of treason? The not wanting to execute two hundred people? The transfer to Verdun? The son explaining that his father was a grandfather? His weeping?

21.The Germans, the officer and his severity with the troops, the slight at the Jewish officer (and his appreciating Christmas even though not Christian)? The soldiers in the train, going to the Russian front, their humming and the reaction of the officer?

22.The credits and the photos, the final credits and the sketches of the period? Evoking a mood, nostalgia? Fraternisation and peace and the true meaning of Christmas?

ABSOLUTE BEGINNERS

UK, 1986, 108 minutes, Colour.
Patsy Kensit, Eddie O’ Connell, David Bowie, James Fox, Mandy Rice- Davies, Steven Berkoff, Sade, Bruce Payne.
Directed by Julien Temple.

Absolute Beginners was a British attempt to do something with the musical on-screen. It was directed by Julien Temple who had made a name for himself with music videos in the 1980s and such films as The Great Rock ‘n Roll Scandal. He was to venture into feature films at various times including Vigo and the study of Coleridge and Wordsworth, Pandemonium.

The film is set in the late 50s, an anticipation of the swinging life in London of the 60s as well as the race riots. It is also set in the world of fashion and photography. The film stars Patsy Kensit as a model, David Bowie as an eccentric entrepreneur and James Fox as Henley of Mayfair, the dressmaker to the queen. Various cult performers also make appearances including Mandy Rice- Davies (from the political scandals of the 1960s), playwright Steven Berkoff and model Sade.

The film was not a commercial success on release. However, many want to go back to it as a symbol of 80s film-making and a breakthrough in visual style – especially to be judged in the later success of the showiness of the music video and its influence on feature films.

1.A stylised musical, slice of life? The British perspective?

2.The work of Julien Temple, his background in music videos? His feature films and documentaries? His interest in this world and personalities, their eccentricities?

3.The film based on a novel, the setting of 1958, a memoir? An old world? An 80s interpretation of the 50s – and reassessment?

4.The importance of the stylisation, the artificial world the film created? The style of colour and splash? Sets and décor? London of the period, interiors? Costume design? The editing and pace? The range of backgrounds of the cast?

5.The musical score, the songs, their range? Insertion into the narrative? The performance of the songs? The lyrics? The revolutionary perspective?

6.The title, the perspective?

7.The structure of the film, pastiche, the various turns? The thinness of the plot – the surface show? The characters?

8.Colin, his background, his relationship with his father? The hero of the film? The photographer of the period? The sex perspective, pornography? Napoli, Soho? His friends? His obsession with Crepes Suzette? His entrée into the fashion world? The encounters with Henley? His family background and his ability to cope?

9.Harry Charms as record producer, personality and presence? Colin’s encounter with him? Baby boom, the promotion? Henley? Vendice Partner and business? James Fox and David Bowie in this kind of film, their screen presence, style?

10.The television background, Call Me Copper? TV culture, photography? The raids on the rooms? The scheme?

11.The riots, the rescue? The rally and Suzette? Flikker and the fight? Suzette and the end? Colin and his odyssey through an ugly England?

12.Suzette and fashion, Colin, the reactions? Henley and Suzette? The marriage? The homosexual background? Leaving, the club, the end?

13.Henley, the chic world, dressmaker to the queen, style, personality, marrying? The plan?

14.Partners and David Bowie, the party, the discussions?

15.Mr Cool, Sister and the group, life, involvement, survival? Colin and his plans?

16.Dido Lament, gossip? The role of the gossip columnist in this world?

17.The background of the race issues, the prejudice against blacks in London? Fanaticism, the rallies, the teddy boys? The riots? Demolition – and peace?

18.The film as an attempt to do something different in the British film industry? Drawing on a range of talent? Assessment of a particular period? The film seen in retrospect?