THE EXTRA

Australia, 2005, 96 minutes, Colour.
Jimeoin, Rhys Muldoon, Katherine Slattery, Shaun Micallef, Bob Franklin, Helen Dallimore, Michael Veitch.
Directed by Kevin Carlin.

The Extra is a star vehicle for Jimeoin. Best known as a stand-up comedian and on his television programs, he also made the 1999 comedy The Craic. Response to him will be a matter of taste.

This is a fairly broad comedy, an actor who wants to be a star, getting into all kinds of mix-ups during filming in Melbourne. It all depends on your sense of humour.

Kevin Carlin directed Boytown as well as The Extra – also acquired taste films.

1.Australian comedy, verbal, visual, the little man and his attempts to succeed?

2.The Melbourne photography, the city, homes, film sets, the buses and the streets, the countryside, the musical score?

3.The title, expectations? The introduction to the extra, his anonymity and insignificance? The place of extras in film-making? Their treatment?

4.The structure of the film: with the gun, the flashback, the phone and waiting, the film, the job – and the premiere (**you said it like premier, but it is premiere, isn’t it?) again? The humour of his frustration at the premiere?

5.Jimeoin’s comedy and screen presence, age and appearance, the loser, anonymous, jobs, as a stripper, the extra and the mistakes, standing on the hand? Yet the dinner, smiling at the star, the club and his being ousted?

6.The extra and his friends, the premiere, the back wall, the cut, others, going to the party and being ousted?

7.The bus, talking, home, sex, crabs? The doctor and the pants? The Romeo and Juliet style, the meeting, glamour, the star, home, the ending?

8.The Crimestoppers and the star, the audition and the police?

9.The director and his assistant, the thugs, the focus on money, Mr Big? The robbery and the escape, stealing from the set, the plans, the film? The trailer? The drive, the act in the lane, on the hill, the vehicle going down? The end of the film, the Weinstein producer?

10.The girlfriend, character, the thug?

11.The star, her tantrums, pleasant star, no-one talking, Jimeoin disappearing?

12.The jokes about movie-making, epics, the extras, the stars, assistants, fans, advertisements?

13.The amusing visual jokes, verbal jokes, the little man – no parties, but being satisfied with his lot?

SEASONS OF THE HEART

US, 1994, 92 minutes, Colour.
Carol Burnett, George Segal, Eric Lloyd, Jill Teed, Malcolm Mc Dowell.
Directed by Lee Grant.

Seasons of the Heart is an emotional film – with a rather strange subtext.

The film focuses on Eric Lloyd, a little boy who lives with his addict mother (Jill Teed). She leaves him with neighbours and does not return. The neighbours have the grandmother’s phone number and she comes to collect him. The grandmother is played by Carol Burnett. However, she has been in a loveless marriage with an alcoholic, has been the mistress of a shady business type for twenty-five years but has now married him (George Segal).

While the expected things happen in terms of the grandparents fostering the young boy and his changing their lives, the gangster background makes it rather different.

The principal characters give interesting performances, though Malcolm Mc Dowell as an eccentric author goes over the top sometimes. Eric Lloyd is persuasive as the little boy. The film was directed by Lee Grant, an actress who, over a period of thirty years, directed quite a number of telemovies and television series.

1.An interesting film – for adults, for children? Suitable for children?

2.The city settings, the affluent home, business premises? Poorer apartments? The contrast? The city atmosphere? Musical score?

3.The title, whose heart? David, Vivian, Ezra, Ellen?

4.The focus on David, his appeal? Waking up, trying to wake his mother? Her leaving him with the neighbours, his being happy with them, her not returning? His being upset? His grandmother, meeting Ezra? Getting used to his grandmother, being friendly with Ezra, Ezra talking with him, playing with him? His moods, upset, going into his room? His grandmother looking after him, his being forgotten by Ezra in the cupboard? His plane disappearing? His meeting Alfred? His not being able to read? His grandmother reading, his learning, his sums, homework? At home with Vivian and Ezra? Wanting his mother? Her arrival – and their not telling him, his being upset? Her return, being with her? Her finally leaving? Vivian and Ezra taking charge of him? His response to the sense of family, playing with the neighbours, his birthday party and the children? His future?

5.Vivian, the history of her marriage, her betrayal of Charlie, with Ezra for twenty-five years? Friendship with Alfred, his love for her? Her love for her daughter, her daughter feeling her absence, becoming an addict? Her impatience with her daughter, the phone calls? Her feeling imposed on by having David? Her marrying Ezra, the tensions because of the marriage? Socialising? Her work, editor, her staff? Work at home? Going to Ellen’s flat, her being upset? Her care for David, reading, his learning? Her wanting to go on a weekend – but feeling confined? The discussions with Ezra, wondering about their marriage? His going away for weekends? Her meeting with Ellen, the reconciliation – but Ellen being fickle, not wanting to stay, confronting her mother, disappearing? The lawyer and the adoption settlement? Reconciling with Ezra, a family together?

6.Ezra, his shady background, deals, friends, business? His relationship with Vivian over the years? His many wives? Affairs? His response to David, talking with him, liking him – but feeling imposed on? Becoming a grandfather figure? Forgetting him and the locked room? The discussions with Vivian, his having rarely met Ellen? Going away, his trying to reform his business? His associates? The clashes with Vivian, the reconciliation, a future?

7.Ellen, her background, talking straight to her mother, her mother’s absence, looking after her father in the snow? Her addiction, with men? David’s father being absent? Leaving him with the neighbours, disappearing? Phone calls, her return, with the man, finally leaving? Hoping to resume her career?

8.The neighbours, the friendliness, looking after David? Contacting Vivian?

9.The reality of this kind of situation, single mothers, drug addicts, the child at home, by himself, limitations in learning? The need for family, kindly neighbours, the role of grandparents?

WHISPERING SMITH

US, 1948, 88 minutes, Colour.
Alan Ladd, Robert Preston, Brenda Marshall, Donald Crisp, William Demarest, Fay Holden.
Directed by Leslie Fenton.

Whispering Smith is a routine western, an Alan Ladd vehicle. He tends to be wooden in his manner and appearance but had a certain charm and attraction. Robert Preston, on the other hand, gives a full-blooded performance as a man going to the bad. Brenda Marshall is his wife. Donald Crisp, Oscar winner for How Green Was My Valley, is the local crooked baron. William Demarest is a local authority and Fay Holden (the mother in the Andy Hardy series) is his wife. Leslie Fenton is a director of routine small-budget films.

Luke Smith is a railroad detective. There are various robberies, the stealing of cargo. The local baron is responsible, hires a number of killers – and when Robert Preston is sacked from the railway because of a mix-up, he goes over to the baron. There are pursuits, shootouts, and a happy ending.

1.An entertaining western? The popular ingredients? The town, authorities, villains, railroad robberies?

2.The picture of the west, the town, the railroads? The musical score?

3.Luke Smith, Alan Ladd’s presence and style? Murray explaining him? His reputation? The initial shootout and his surviving? His work for the railroads, the detailed detection? His friendship with Bill and Emmy? His relationship with Marian? Her having married Murray? The antagonism towards Rebstock? The clash with the gangs, especially Whitey? The discussions with Marian, trying to keep Murray on-side? Jovial atmosphere? The change, the robberies, the confronting of Rebstock? The situation with Murray, the goods from the train, their being destroyed? His going over to Rebstock? The build-up to their final confrontation, the sheriff, Smith and his pursuit of the gang? Going back to find Murray, Murray wounded, their talk, pulling the gun, Murray’s death? The pathos? Smith and Marian? His previous advice for her to talk over things with Murray? The happy ending?

4.Murray, jovial, marrying Marian? His moods? Praising Smith, their long friendship? In the town, gambling, drinking? His business, the sheriff, the destruction of the goods, his being fired by the railroads? His anger, taking it out on Marian? Going to Rebstock? The hold-ups? Whitey and the death of the guard? His being in too far, his decisions, the pursuit? His being wounded, the return, confronting Marian, wanting to go away with her? Confronting Smith, his death?

5.Marian, marrying Murray, in love with Luke? Her anxieties, friendship with Bill and Emmy? The treatment by Murray? Her going to Luke? His advice for her to solve the problems? Shielding Murray at the end?

6.Bill and Emmy, the old couple in the west, genial, hospitable? Bill and his riding with Luke, Luke not shooting Murray?

7.Rebstock, arrogant, his gang, the baron, wealth, greed? The final set-up, the men going, being shot by Whitey?

8.The gang, their brutality, trying to kill Smith? Whitey and his arrogance?

9.The sheriff, his place in the town? George McCloud? and the railroads? Their treatment of Smith, of Murray?

10.A glimpse of a particular facet of the west, western settlement, the railroads, law and order?

THE PAINTED VEIL

US, 2006, 125 minutes, Colour.
Naomi Watts, Edward Norton, Liev Schreiber, Toby Jones, Diana Rigg, Juliet Howland, Anthony Wong, Maggie Steed.
Directed by John Curran.

A film for an adult audience that can be recommended both for its fine technical qualities and for its explorations of themes of infidelity, reconciliation, forgiveness and atonement.

W. Somerset Maugham created several strong female characters in his novels. (Films and telemovies from his writings already number 98,) There was Sadie Thompson in Rain (portrayed on screen by Gloria Swanson, Joan Crawford and Rita Hayworth) who, in isolated and tropical settings, tormented a man of God. There was the unfaithful Leslie Crosbie of The Letter, again in the tropics, (portrayed on screen by Jeanne Eagels, Bette Davis and Lee Remick). There was the unfaithful Mildred Rogers of Of Human Bondage (portrayed on screen by Bette Davis, Eleanor Parker and Kim Novak).

His Kitty Wane in The Painted Veil is a less forceful character than these – and she has been portrayed by Greta Garbo, Eleanor Parker and, now, Naomi Watts. However, she too is unfaithful but she has the opportunity to redeem herself – and be redeemed by her husband and his work among cholera victims.

Maugham, who trained and qualified as a doctor, was also interested in religious and spiritual themes in such works as The Razor’s Edge where a man goes in search of himself in the East.

This version of The Painted Veil was filmed in China. The cinematography of Shanghai and of the mountains and rivers of South China make a magnificent background to the plot. Alexandre Desplat’s evocative score won a Golden Globe award.

The setting is 1925, China. Flashbacks build up the story of the western man and woman being carried through the countryside on chairs. He is a shy and rather uptight bacteriologist from England (Edward Norton most persuasive in the role) and his socialite and spoiled young wife, Kitty (Naomi Watts proving that she is an actress of skill and substance). We soon learn that she did not love her husband despite his devotion to her and has had a dalliance with a worthless diplomat (Liev Schreiber) in Shanghai. Her husband volunteers to go to a remote village to help in a cholera epidemic and, quietly vengeful, forces his wife to accompany him.

The film develops the themes of colonialist presence in China and the growing resentment and violent protests as well as the themes of Chinese need for contemporary medical practice and hygiene. In the village are a group of French nuns who run an orphanage and who are helping in the crisis, many of them dying. Diana Rigg plays the superior, a practical and devout woman who delivers some very moving dialogue about her vocation, her love of God, her passion for God and how as she has grown older, they are like an old married couple sitting together, taking each other for granted, a maturing up and down love.

The plot develops as might be expected, especially in the tense relationship between husband and wife, in the hard work of the doctor, in the passive aggression of the military chief who finally breaks through the rituals and pride of the local warlord to change the practices of the people concerning the dead which are contributing to the spread of the disease.

The end of the film is moving, showing that hard circumstances and shared self-giving can transcend bitterness and hurt and that love and forgiveness are not impossible.

Ron Nyswaner (Philadelphia) can be proud of the screenplay he has written and John Curran (Praise, We Don’t Liver Here Anymore) proud of the film he has directed.

1.The work of Somerset Maugham? His writing? The many film versions? His Asian settings? For relationships?

2.The title, China, Kitty herself?

3.The adaptation of the novel, expanding its storyline and detail? More on Doctor Fane and the cholera epidemic?

4.The impact of the cinematography, the variety of the musical score, the strength of the dialogue and the screenplay, performances?

5.An adult film in the best sense? Story, crises, values, resolution?

6.Familiar material, the loveless marriage, the affair, the consequences, vengeance, reconciliation and forgiveness?

7.The introduction, China, 1925? Walter and Kitty in the Chinese countryside, waiting, being carried, the carriers, the beautiful scenery in the mountains, the puzzle as to why they were there, waiting, hot?

8.The situation of the flashbacks: the party, Walter first seeing Kitty, as a flapper, her being on the steps, assured, his infatuation, inviting her to dance, her offhand manner, talking, her mother and the criticisms of Kitty, on the phone, talking about her sister marrying, Kitty overhearing? Her father and his quiet support? The mother threatening that she would be cut off? Meeting Walter at the door, his bouquet, going out, nothing better to do, talking about bacteriology, the meal, the proposal? The issue of her not loving him? The marriage, going to China, an escape? An introduction to each of them: Kitty and her shallowness, Walter and his being uptight and rigid?

9.Life in Shanghai, Charlie Townsend, the meeting, with his wife, the meal, the sudden move into the affair, Walter knocking at the door, the parcel? Walter confronting Kitty, the ultimatum, her going to Charlie, his callow response, evading responsibility? Her going with her husband?

10.Walter, uptight, his background, his infatuation with Kitty, loving her, being hurt by the affair, his stern stance, hard manner, the mission and the travel into the interior of China? The situation, meeting Waddington, his introducing them to the town (and the background of his own life), politics, representing England, his being with Sung Ching? The opium, the sex? The background of the British presence, colonial attitudes? The army? Kitty’s guard at the house? The background of the warlords and their dominating? The ordinary people, issues of hygiene, the deaths by cholera, the visuals, his description to Kitty of dehydration and death? His assistant in the laboratory? His studying? Work, the issue of water, closing the well, the water wheel and the possibility of fresh water? The customs of immediate burial? His ignoring Kitty? The meals in silence?

11.Kitty in herself, flighty, superficial, needing love? Feeling the punishment, her fears, watching Waddington and the girl? Drinking, at home? Walking through the town, the guard and his shadowing her? Venturing further? The convent, the meeting with the nuns, the orphans, the tour of the orphanage, the work, working hard, not finding it easy to be a nurse? The dangers, being served the salad and her defiant eating of it, Walter eating it as well? Finding the piano, playing for the children? At home in the convent? The discussions about the situation with Walter? The religious issues, his being anti-Catholic and proselytising, her defence of the work of the nuns? The meetings with the superior, the talk with her, the effect?

12.The nuns, their French background, their work, the orphanage, the cholera? The superior and her story, the tour, the music? The dangers for the nuns, their deaths, the migrants with the disease? The significance of the talk with the mother superior, explaining her own vocation, love of God, passion for God, an old couple, taking God for granted?

13.The Chinese officer, speaking English, his training, stern, the protests in the town, the posters? His not supporting Walter? The burial, the water? Going with Walter to the warlord, his change of attitude, his persuading the warlord to safe face?

14.The soldiers, the Chinese army, their work in the town? The warlord sending his soldiers, for the burials? The rising protests, the attack on Kitty, her running away, on the guard? The dangers?

15.Waddington, his background, his character, friendly, way of life, explanation, accommodating to China, the girl, the story of his rescuing her? Drinking, the drugs? Their talks, a human face of China?

16.The details of the work, the discussions about the illness? Walter and the dangers, the cuts, his eventual infection, his death? The reconciliation with Kitty – the sexual fulfilment? The pathos of his dying, of his burial?

17.The issue of Kitty’s pregnancy, her fainting, the nuns telling her what had happened? Her explaining to Walter, the doubt whether it was his child? Charlie’s child? His accepting this situation?

18.The five years passing, Kitty in London, with Walter, her love for him? The chance encounter with Charlie Townsend, his coming on to her – and her calling him Mr Townsend, going on her own independent way with her son?

19.A satisfying portrait of adult human beings, sin, forgiveness, punishment, reconciliation?

WHO KILLED HARRY FIELD?

UK, 1991, 105 minutes, Colour.
John Thaw, Kevin Whately, Trevor Byfield, John Castle, Geraldine James, Nicola Cowper, Veronica Lang, Ronald Pickup, Freddie Jones.
Directed by Colin Gregg.

Another Morse mystery, solidly scripted and directed with the usual fine performances from John Thaw and Kevin Whately – and with a strong supporting cast.

1. The popularity of the long-running series? Television movies? With style? The popularity of Morse and his personality, enigmatic and mannered style? The personality of Lewis? Their relationship? The solving of the crimes? Intricacy of the plot? The psychological dimensions, the mystery and clues? Police work and solving the mysteries with their own abilities? The work of Colin Dexter?

2. The Oxford settings, the city and landscapes, the cityscapes, the buildings? Comments about Oxford and Oxford society? The ironies about Oxford and the dons? The university city? Ordinary people? Their interconnections? So much beauty – and so much crime?

3. The quality of the mysteries, character-driven? Sufficient information, sufficient clues? The exploration of character and clues?

4. John Thaw as Morse, his personality, the changes over the years, yet remaining the same? The mystery of his name? His crusty manner, the bachelor (but romantic at times)? His own authority – exercised over Lewis – and his reaction to authorities? Promotion or not? The changing of his attitudes towards Lewis, bossing him, patronising him about education and culture? The issue of music? Drinking ale? His car? Quietly at home, at work? With Lewis, understanding the situations and characters, the deductions? His being a good listener – but critical?

5. The contrast with Lewis, the family man, the ordinary policeman, education and lack of education, his being put down by Morse – but enjoying his comeuppance now and again? Music and his ignorance? The first reactions, Lewis being patient? His admiration for Morse, having to do so much leg work, to formulate hypotheses? Working under pressure? Collaborator and partner of Morse?

6. The police authorities in Oxford? The medical examiners – and Morse and his attitude towards the female authorities? Sexist and patronising? Changing?

7. The quality of the film as a crime thriller, a thriller with intelligence and demands on the audience?
8. The introduction to the crime, the credits, the background in Oxford, beyond?

9. The range of personalities, motives? Truth and concealment? Jealousies? Deceits and angers? The academic and religious backgrounds?

10. Harry as the focus of the film? The web around him? A plausible character? His reputation as an artist, his love of fun, his drinking, storytelling? Morse and his liking him? His death? The discovery about the truth of his character? His lack of ideas? The fact that he imitated other artists? The woman in the paintings? Her not being his wife? His business and making up family coats of arms, the Latin mottos (and jokes)? Involved in other forgeries or not? His relationship with Helen? The nature of his marriage? His relationship with Doyle, the issues of money? With Eirl? The painting? The issue of the model? His friends, father? Death and the questioning of his integrity?

11. The nature of the investigation, Morse and his personality, admiring Field, changing his attitude? The nature of the investigation, working with Lewis? Being hard on Lewis? Lewis and his personality, putting up with Morse, his home life, his comments, the footwork?

12. Doyle, as a person, with the girls? Helen – a Lancelot?

13. The model, her background, her relationship with Field?

14. Eirl, his wife? The staff?

15. The friends gathering for the wake? The range of friends – and the possibilities for the murderer?

16. The world of art, the academy, government money?

17. The intricacies of the plot, the work of Morse and Lewis, the revelation of truth under the surface of respectability? A satisfying Morse mystery?

BLUE CHIPS

US, 1994, 108 minutes, Colour.
Nick Nolte, Mary Mc Donnell, J.T. Walsh, Ed O’ Neill, Alfre Woodard, Shaquille O’ Neal, Anthony C. Hall, Robert Wuhl.
Directed by William Friedkin.

Blue Chips was directed by William Friedkin, best known for his Oscar for The French Connection and the controversy for The Exorcist. He has had an up and down career. This film is very interesting, not just as a sports film, but about college politics and corruption in college sports. It is much more of a Ron Shelton film. Shelton was the writer and had also directed a number of interesting sports films including Bull Durham, White Men Can’t Jump, Cobb, The Tin Cup and Play It To The Bone. He was also interested in politics with Blaze and police work in Dark Blue and Hollywood Homicide.

The film is a star vehicle for Nick Nolte as a basketball coach who is becoming more and more disillusioned because of the rules about signing up new players and the regulations which were being flouted by other schools, giving players all that they wanted. With the connivance of one of the ex-alumni, J.T. Walsh, he then hires basketball players – some of them professionals off screening including Shaquille O’ Neill and enabling them to be the stars.

The film then explores the moral impact for the coach, the exposure, the consequences – and the morality of this kind of sport double-dealing, egged on by notions of celebrity as well as fans’ demands.

One of the more interesting sports films – especially for its underlying themes.

1.The popularity of basketball? American sport? The world of sport, celebrity? The fans? The importance of the spirit of sport, the realities of money? Professionalism? Corruption? A critique for the future of sport?

2.The Californian settings, Chicago, Louisiana? The musical score?

3.The presentation of the matches themselves, the players, the dressing rooms, the coach and his work, practice, the fans and their responses, strategies and training? The musical score?

4.Nick Nolte as Pete Bell? Nolte’s screen presence, craggy and rugged? The opening, the blasts? The tantrums and the kicking? His speeches, and the role of Ed? The video? Jenny and her acceptance or not? Tony and the television? The management, the losses, the TV commentators and their snide remarks? Pete as a character?

5.The recruits, Lavada and the house, the Indiana Baptist and the tractor, Neon and his play? The sport bosses, the staff, the rules?

6.Happy, his role as ex-alumnus, his position, the pressure from him, the gifts, the confrontation? The bets, the role of Tony, the video? Happy as a particular type? Authoritarian and corrupt?

7.Jenny, her work? Relationship with Tony, Neon, looking them in the eye, the rejection? Not part of the happy ending?

8.The players getting what they wanted, spoilt, wealth, the girls, the house? Neon and the gifts?

9.Ed, his questions, research?

10.The drama of the film, the training, the recruiting, the underlying issues of payment, winning matches, the detail of the matches, the spirit of the matches?

11.The press conference and the truth? The confrontation? The final integrity – and the hope for the future? Pete as a character, going through this ordeal, having to make decisions, having to be authentic? His relationship with the players? His speech?

LUTHER

Germany, 2003, 121 minutes, Colour.
Joseph Fiennes, Jonathan Firth, Alfred Molina, Claire Cox, Peter Ustinov, Bruno Ganz, Mathieu Carriere, Maria Simon, Lars Rudolph, Marco Hofschneider.
Directed by Eric Till.

Luther is a film made by dedicated people, especially from German church organizations. It fits into the genre of historical costume drama while its themes are those of reformation in the Church. It is geared towards a more popular audience rather than a more theologically sophisticated audience.

Joseph Fiennes may seem an unexpected choice to play Luther but he does well. He seems to grow into the role so that by the end he is quite convincing.

The film opens with Luther’s anguish and depression, a fearful attitude towards God, especially in his first Mass. However, he is sent to Rome on pilgrimage by his benevolent superior (Bruno Ganz). Overwhelmed at first, he is then scandalized by its worldliness, especially of the Church itself. When is sent for theological studies at Wittenburg, he questions many dogmatic stances (with a great knowledge of official Church teaching) which ultimately leads him to the posting of his ‘theses’ on the cathedral door. The film shows in some detail the Roman reaction, especially from Leo X and Cardinal Cajetan (Matthieu Carriere) and his wily protégé (Julian Firth). Eventually, he is protected by Frederick of Saxony (Peter Ustinov) and the emerging German nationalism clashes with the Church authorities.

The Diet of Worms and the gathering at Augsburg are shown in some detail as are the aftermath of the princes’ putting down of the peasants, Luther’s being dispensed from his vows, his further studies, marriage to Catherine Von Bora.

There was a film version of Luther’s life in the early 1950s with Niall Mc Guinness. In pre-ecumenical days when Luther was seen as a religious enemy by Catholics, the film was advised against. Twenty years later, there was a film version of John Osborne’s play with Stacey Keach in the role. As Osborne looked on Church issues from the outside, his play explored issues of authority and power and religious hypocrisy. In Looking at Luther at the beginning of the 21stt century and with the success of decades of dialogue between Lutherans and Catholics, much of Luther’s critique of Tetzel and the selling of indulgences, of the politics and corruption amongst Church officials, seems justified. Had the Council of Trent (1545-1563) been called by the Pope during Luther’s lifetime, the history of the Reformation and dialogue with reformers could have been so different.

1.The audience for this film? The Lutheran audience? Other Christians? Beyond Christianity? Its confessional attitudes? The different attitudes towards Luther – saint or villain? A portrait, his times, his historical character, the status of religion, religious freedom?

2.The picture of the church, the focus on the person of Jesus, theology? The word of God? Temporal power? Ecclesiastical power? Superstitions and abuse, reform? Presuppositions about the 15th and 16th centuries?

3.The political consequences of Luther’s actions, the role of the papal states, Charles V, Saxony? The princes and their support? The levelling of the peasants? Fifty thousand, the secession from Rome? The re-creation of Germany in the 16th century, Erfurt, 1507? The re-creation of Rome in 1510? Wittenberg? Augsburg? The monastery, the courts, castles, the monastic cells, homes? The world of the princes, the world of the peasants? The historical background, Charles V and the emperor, the wars, Rome, Aleandro,(*?? Aleander in IMDB) the German princes, Frederick of Saxony, Leo X, Cardinal Cadjetan, Rome and the papacy?

4.The storm, Luther, the experience of the storm, his grim perspective on life, monastic life, the first mass and his scruples? His going to Rome, refusing to go up the holy stairs on his knees? The ‘Here I stand’? At the University of Wittenberg? Papal authority, Saxon authority? The Diet of Worms? In Augsburg and his setting out on his pilgrimage?

5.The Lutheran perspective of Luther as hero, a warts-and-all portrait, relationship with the Roman church, the abuses of the time, the reliance on Scripture and his studies, theological reflection, the importance of the word of God over action? The nature of the 16th century Reformation? The fact that Henry VIII wrote against Luther? The background of the church and the 14th and 15th centuries? The nature of piety, relics, payment for indulgences, the worldliness of Leo X, Tetzel and his preaching, the corruption, the ignorance of the people, piety rather than theology, politics and emerging nationalism?

6.Luther as a person, as a character, the experience of the storm, the expression of his fears, his harsh perceptions of God, the Augustinian tradition? Justice, trembling with the chalice? The influence of his father? His father’s presence at the ordination and mass? Von Staupitz and his friendliness, advice? The issue of Luther’s anger with God? People seeing his torment? His faith, Jesus, wanting to be saved? The effect of the visit to Rome, as a pilgrim, on the streets, seeing the prostitutes, seeing the selling of relics, being pushed, the holy stairs, the Dominican and his arrogance? People and superstition, indulgences? The crush of the crowd? Audiences knowing the effect of the Reformation and its subsequent history as well as the 20th century dialogue and reassessment? Luther and his physical condition, his illness – how would the Reformation have been different if he had been in better health? Grim and depressed? Sense of mystery? Wanting penance? His guilt and his fears?

7.The effect on his life, his studies, his disputes, his reading, Andrea? The issue of outside the church there is no salvation? Discussions, theology by quotation, his doctorate? His lectures and denunciations? His confidence growing? Wittenberg and the pinning of the theses on the door of the church? The effect? His becoming the secretary? His becoming the secretary? His life as an Augustinian, in community, with Von Staupitz? The urging of him to go to Rome, the encounter with Cardinal Cajetan, the Fifth Lateran Council, indulgences, papal statements, justification?

8.The Rome of Leo X, pomp, politics, the buying of bishoprics? The role of Cardinal Cajetan? The role of Aleandro, his plans? Cajetan wanting reform? Aleandro wanting power plus orthodoxy? The death of Leo X? Leo X and his condemnation of Luther – and Luther’s abusive attitude towards him? The pilgrimage, sexuality and the Dominicans, the pope, the screwing up of the bill for the relics? The effect of his pilgrimage?

9.Frederick and Peter Ustinov’s performance, age, experience, Luther as his secretary, the information, Frederick liking Luther? Saying nothing but thinking him too radical? The hearings? The request that he revoke the theses? The influence of Aleandro, his nephew? Protection for Luther? The consequences of his stance, opposition to Rome? The later meetings, the bible, the gifts?

10.Luther and Von Staupitz, the dispensation, the request that he abjure his statements? Cardinal Cajetan and the statement Uni Genitus? The influence of Aleandro? Rome and the decision to get Luther, Von Staupitz’s advice? The Diet of Worms? His quoting Scripture, his conscience?

11.The theological issues of the Reformation, Luther’s contribution: on sin, redemption, the word, his sermons and the people listening? The support at the Diet of Worms?

12.Andrea, power, the massacre, Luther and the princes, “Whatever means”?

13.The human element, the abduction, Luther and his work of translation, hiding away, his emerging, his stopping Andrea, Greta? His meeting Katharina von Bora? Together? Her being in the convent? The nuns? The influence of the Reformation? Her leaving, marriage?

14.The Council of Augsburg, the princes, the Confession? Aleandro and Charles V? Philip Melancthon and his theological reflection?

15.The massacre of the peasants, the princes using Luther? His reaction, regrets?

16.The marriage to Katharina von Bora, his teaching, the passing of the sixteen years – dramatically quickly?

17.The portrait of Luther, a man of his period, his response to the period and his critique? The consequences for the Reformation in Europe?

HOTARU NO HOSHI (FIREFLIES: RIVER OF LIGHT)

Japan, 2004, 101 minutes, Colour.
Hajimi Miwa.
Directed by Hiroshi Sugawara.

Hotaru No Hoshi is a fine Japanese film with a humane touch. The focus is on a teacher and the experience of the school system which is so tight it does not allow for creative teaching. It is a critique of the style of Japanese education that forms everybody in the same way. However, the teacher wants to establish a project, get the students involved in cleaning a river so that the fireflies, traditionally present, can return. His students are very supportive. This is a film that challenges old ideas of education and also offers of the contemporary theme of respect for the environment.

1.The audience for this film? Children, adults? Teachers? Parents? Japanese? International?

2.The ecological issues, water, the creatures, preservation, conservation?

3.Spirituality issues: the firefly myths, nature, the cosmic repercussions, stars and light, the mating of the fireflies, the three days of existence, the end – and the glowing?

4.The city, work, Miwa and the old man? Work, the discussion about the fireflies?

5.The musical score, especially the piano themes, the orchestrations?

6.Education, the teaching, the tests, the eggs?

7.Miwa, his age, experience, hopes, moving to the city, teaching the children? The authorities? The lack of reaction in class, the mess, the principal? Authorities and the staff? The sport, the three-legged race, falls, the nursing?

8.The lonely girl and her mother, the snakes? The fireflies – and the change in her? And her mother at the end?

9.The firefly project, the children’s response, excitement, going to the river, learning by experience, the passing of the seasons and their reactions?

10.The river, the contemporary construction, the opposition to the project, the adults and their decisions, the petitions and their being rejected, the postponement? The head of the school?

11.The teacher, the pleas, with the staff, the offer to resign, the role of the headmaster?

12.Moving, the children, continuing the project, during the different seasons, the beauty of the seasons, their challenge, the ups and downs?

13.The adults and the supporting cast, the nurse, the staff, the farmers, the workers?

14.The build-up the climax, waiting, hoping? The epiphany of the lights? The parents’ response? The children’s?

15.The film’s message, as a fable and its effect? Hopes for the future?

THE LION KING

US, 1994, 85 minutes, Colour.
Voices of: Jonathan Taylor Thomas, Matthew Broderick, Jeremy Irons, James Earl Jones, Madge Sinclair, Rown Atkinson, Nathan Lane, Ernie Sabella, Whoopi Goldberg, Cheech Marin, Moira Kelly, Robert Guillaume.
Directed by Roger Allers and Rob Minkoff

In the jungles of Africa, in the Prideland, a baby cub, Simba, is born to the Lion King, Moufassa. All the animals assemble to honour the cub and he is anointed as future king. His uncle, Scar, is jealous and wants to kill both Moufassa and Simba.

Moufassa trains his son but Simba, believing Scar and not wanting to seem afraid is persuaded to go beyond the boundaries of the Prideland and has to be rescued by his father. Scar enlists the help of the scavenging hyenas and they cause a stampede where, once again, Simba is trapped. When Moufassa saves him and tries to climb the cliff to safety, Scar causes him to fall to his death. He then makes Simba feel guilty and advises him to run away.

Simba is found by a warthog and a meerkat who befriend him. With them he grows up but longs for his father. When Narla, his best friend chases Timon in the jungle, he learns that Scar has taken over as king and, with the plundering of the hyenas, has wasted the kingdom. The animals are starving. The old baboon counsellor finds him, shows him his true self and the image of his father within him, so he returns, confronts Scar and brings the kingdom to prosperity. His and Narla's cub is born and presented to the animals as the future king. The circle of life continues.

The Lion King has been the Disney Studio's most successful and popular animated movie. It led to a sequel and to the successful staging of the movie as a musical theatre event.

The story contains the right mix of family themes, royalty, adventure and danger, as well as comic characters and songs. The songs by Tim Rice and Elton John and Hans Zimmer's score were Oscar winners.

The drawing, especially of the variety of animals, is sometimes breathtaking. And many of the characters are particularly well drawn to suit the voices of the actors. This is very much the case with Jeremy Irons relishing his villainy and sardonic humour as Scar. Ernie Sabella and Nathan Lane are enjoyable comic relief as Pumbaa and Timon. Rowan Atkinson is the bird adviser. Whoopi Goldberg leads the hyenas and James Earl Jones well-recognised voice (that of Darth Vader) is Moufassa. Matthew Broderick and Moira Kelly are more conventional as the grown up Simba and Narla.

1.The popularity of the film? For all ages? Its status as a classic? The sequels?

2.The animation and its style, the animals and the collage, the drawings, the colours, Africa, the animals? The musical score? The songs?

3. The king, the monkey on the rock? The birth of Simba, the royal prince, presented by his father to the animals, reverence, anointed as the future king? Mufasa as a role model father? His love for his son, training and disciplining him? The rituals of reverence for the young prince? The birth of Simba, the royal prince, presented by his father to the animals, reverenced, anointed as future king as a parallel to the birth of Jesus. Moufassa as role-model of father, like Joseph, with his love for his son, training and disciplining him.

4. Scar, the Kingdom of Darkness, the fascist hyena troops, their stripping the land, impoverishing the people, casting darkness over the land, oppression? Scar and his refusal to go to reverence the king? His own ambitions? His advisers and reliance on the hyenas? Eating the mouse? The interactions with Simba as he grows older, pretence? Scar and the kingdom of darkness, the fascist hyena troops and their stripping the land, impoverishing the people, casting darkness over land of oppression - and ' a people in darkness wanting to see a light' (the prophecy about the coming of Jesus).

3.Simba, playing, his friendship with Nala? Meeting the hyenas? The confrontation? The stampede? The death of Mufasa, Simba and his trying to save his father? Scar and his taking him to the graveyard of the elephants? His power over Simba? Persuading Simba that he had killed his father?

4.Simba and the exile, the encounter with the baboon, the other advisers and friends? His listening and remembering his father’s explanation of what it was to be a king, how he should rule? The forbidden shadow? That he should not just get his way all the time? Nature and its delicate balance, interconnectedness, the Circle of Life? Simba and his relationship to his mother, his grief at leaving? The pompous advice from Zazu? In exile, his travels, growing up, the meeting with Pumbaa, with Timon? The playfulness, accidents, their good advice? His eventually being persuaded to come back? Simba looking at the stars, wanting to see his father, the baboon guiding him to the pool and his seeing his father within him and gaining strength to return (with Narla's love) and save the animals - and Jesus, son of the Father, showing God's presence within him and saving his people.

5.The land in darkness, the kingdom and Scar’s despotism? The suffering of the people?

6.Simba, his confidence, his return, his friends? The confrontation with Scar? The death of Scar? The triumph of Simba? Establishing peace and order as the Lion King?

7.The importance of the songs, as sung by each of the characters, Simba and his childhood songs, as an adult? Nala? The comic songs?

8.The story as based on Hamlet, the treacherous uncle killing his brother, his hold over his nephew? As adapted for this kind of film?

9.Adult audiences, enjoyment of the voices, the range of the cast?

10.A satisfying entertainment for both young and old?

A SIMPLE TWIST OF FATE

US, 1995, 106 minutes, Colour.
Steve Martin, Gabriel Byrne, Laura Linney, Catherine O’ Hara, Alana Austin, Alyssa Austin, Stephen Baldwin, Michael Des Barres.
Directed by Gillies Mac Kinnon.

A Simple Twist of Fate is a screen adaptation of George Eliot’s brief novel, Silas Marner. It was adapted for the screen by Steve Martin who plays the central role. Silas Marner has been updated to the US in the 1980s.

Steve Martin is very good, playing serious, as a man disillusioned by his wife walking out on him and telling him that her child was not his. The film then moves forward to Michael Mc Cann as a miser, collecting gold coins, misanthropic. He finds a young woman at his door who gives birth to a child whom he adopts. As he grows older, he mellows and is devoted to the little girl. However, one of the sons of the local millionaire steals all his gold. He is portrayed by Stephen Baldwin.

The story comes to a head with the revelation of who the orphan is. Gabriel Byrne portrays the cold millionaire. Laura Linney is his wife.

The film is interesting in its ability to take a 19th century story, see the universal values in it and apply it to the United States in its own time. The film was directed by Gillies Mac Kinnon, a director of a number of significant British films, especially Regeneration, Hideous Kinky, Small Faces, Pure.

1.The title of the film and its meaning? The focus on fate, the meaning of fate? Twists of fate? The importance of coincidences – especially in the novels of the 19th century? The consequences?

2.The status of Silas Marner and George Eliot as a novelist? Her plots, characters, literary style? As adapted for the screen? For the 20th century? For the United States?

3.The film’s focus on the town, its details, the 1980s and 1990s? The school, homes? Affluence and poverty? The courts? The places of the seasons?

4.The musical score – the Scots overtones?

5.The introduction, the music, the baby, the information, the DNA? Michael Mc Cann as reclusive, the carpentry, his love for money, the collecting of the gold coins?

6.The Newland family: the brothers, their clash, rivalry? The role of politics, extravagance? Cars, the girl and the rejection? The night and the crash? Running, the gold and its disappearance, the death in the snow? Mathilda and the girl, the mother and her daughter, Michael Mc Cann? Going to the police? Newland, his disowning the woman, his relationship with his wife? The cover-up?

7.Michael Mc Cann as a character, as portrayed by Steve Martin? The opening, a younger man, his relationship with his wife, her telling him about the baby, her rejection of him? His becoming a recluse? The discovery of the baby and its effect? Getting permission to adopt? The role of April Simon, friendship, her help? His accepting the daughter?

8.Mathilda, her growing up, at various stages of her life, baby, little girl, older girl? Her playing, relationship with Michael? The air balloon? Her schooling, sitting at the cliff, the bonds between her adoptive father and herself? Aged ten, at school, the boys, the horses? Newland and the gift and his not telling her the truth?

9.The portrait of the Newlands, John and Nancy? Their sons? The miscarriage? The truth about what had happened, the effect on John Newland? The decisions? The lawyers? Mathilda overhearing the truth?

10.The court case, both sides represented, the questions, April and the botching of the issue? The judge and his decisions in favour?

11.The water scheme, the finding of the skeleton, the gold?

12.Mathilda, the pressures on her, her finally acting?

13.Mathilda’s future? The future of the Newlands? Winning and losing? The consequences for Michael Mc Cann’s life?