HOODLUM EMPIRE

US, 1952, 98 minutes, Black and white.
Brian Donlevy, Claire Trevor, Forrest Tucker, Vera Ralston, Luther Adler, John Russell, Gene Lockhart, Grant Withers.
Directed by Joseph Kane.

Hoodlum Empire is a film about Mafia and gangsters in the United States in the 1940s. It was inspired by the investigations at the time by Senator Estes Kefauver.

The film seems rather subdued in comparison with later gangster films, especially The Godfather and those made in the aftermath of The Godfather’s success.

This is a Republic production, Republic being a rather second-level studio. Herbert Yates, the president of Republic, produced the film and starred his Czech-born wife Vera Ralston (not considered to be a very good actress). However, the rest of the cast were strong character actors of the period.

The film has a number of flashbacks, especially to action in World War Two where the central character, who had been a gangster for his uncle prior to the war, achieved some heroism and goes straight after the war. At the time of the investigations, his uncle puts pressure on him and his hit-man, played by Forrest Tucker, is ready to kill him.

The film is more interesting these days as an alternate to the Godfather films – and an indication of how the films were treated in the 1950s. The direction is by Joseph Kane, a director of B-budget films from the 1930s (making up to eleven films in 1936 and still making three a year during the mid-50s). Kane later worked for television series.

1.The impact of the film in its time? Small-budget? Film noir? Expose of gangsters according to the investigations of the period? The film seen now, retrospect, the tradition of gangster films?

2.The Washington settings, the war flashbacks, the American cities? Senate hearings? Apartments? Authentic? Musical score?

3.The title, the derogatory aspects of hoodlums? Gangsters? Money deals, drugs, violence?

4.The framework of the film, Senator Stephens and the hearings? The flashbacks, Stephens in the war, with Joe Gray, with Reverend Simon Andrews? The other men in the squad? The background of war action? The arrival of Nick Mancani, his entourage, Pignatalli and his violence? Connie Williams? The tracking down of Joe Gray? The Senate interrogations? The build-up to the confrontation, the tape recording, the vindication of Joe?

5.Senator Stephens, serious, indicating the seriousness of the Senate at the time? His war action, friendship with Joe, with Simon? The hearings, the other senators, especially Senator Tower? The discussions about the hearings? Listening to Mancani? His suspicions of Joe, believing the rumours? The intervention of Marty? His knowing her during the war? The call from Connie Williams, her taping the conversation to save Joe? His final decisions?

6.Mancani, the pre-war gangster, small-time, making money? Joe working for him, his nephew? Success during the war? Post-war, wanting Joe to join him? The investigations, his ability to disappear, deciding to testify, protecting himself with amendments? His lawyers? His relationship with Connie? With Charlie? His tolerance of Charlie’s violence? Watching the hearings on television? The final confrontation with Joe, the murder of Simon? Connie and the taping? His guilt?

7.Joe, Nick’s nephew, caught up in the rackets before the war, his service, heroism, Simon and his blindness? Meeting Marty? His return, explaining things to Connie? His marriage, the children? Going straight, the service station? The issue of slot machines, service stations and their using the trucks as customers? Documents forged? His going to the club, going to the police and their despising him? The hearings? His reliance on Simon for advice? Simon’s death? His wanting Marty to leave? The confrontation with Pignatalli, with his uncle? The taping? Vindication? Marty, the war, her being saved by the group, falling in love with Joe, the marriage? Her going to Stephens to tell him the truth and persuade him?

8.Connie, the goodtime girl, with Mancani, love for Joe? Accepting his marriage? Her testifying, the irony of her comments, party-giving…? Her love for Joe, taping the discussions and fight? Advising Stephens?

9.Charlie Pignatalli, working with Nick, his violence, confrontations, testimony at the hearings? The man trying to blackmail him and getting him shot? His confrontation with Simon, engineering Simon’s death?

10.Simon, the reverend in the war, blindness? Friendship with the men, with Joe? Supporting him? Going to see Mancani, his being deceived, the lift shaft and his death?

11.The background of senators, police? The gangsters? A picture of the 1940s and early 50s?

GIGANTIC

US, 2008, 98 minutes, Colour.
Paul Dano, Zoey Deschanel, Edward Asner, Jane Alexander, John Goodman, Zach Galifianakis.
Directed by Matt Aselton.

Does a film have to have a point? If it does, then demanding audiences might wonder what Gigantic was really about, what was its point? On the other hand, if a film can just be and audiences can take it as it is, the relaxed audience can just go with the flow of Gigantic. If the screenplay did mention anything about the title, I must have missed it. Maybe it's just the irony that the film is not gigantic. The director says that he is interested in where reality and absurdity cross. So, there you are.

This is the story of Brian Weathersby, a bed and mattress salesman, played by the rather unsmiling Paul Dano (the silent teenager in Little Miss Sunshine and Daniel Day Lewis's nemesis in There Will be Blood). His life ambition (since the age of eight) has been to adopt a Chinese baby, so part of the film is about that and how it is achieved. He sells a bed to a bumptiously shrewd businessman, played well by John Goodman, who has a willow-the-wisp daughter, Happy (for Harriet), played by Zooey Deschanel. Brian's relationship with Happy and her father's dependence on him is another strand. There are his workmates. There is his family, an ageing patriarch who lives back in the days of doormen for apartment buildings and secretaries who made appointments for managers (Edward Asner) and his wife, Jane Alexander. There are two older brothers. And lurking throughout the film until an untimely and unresolved encounter is a workman in a hard hat who assaults Brian. So, there you are again.

It is all well done and not without interest and entertainment, asking to be accepted just because it is there rather than its proposing to do something or convey a message. Seems as though the eccentricities of human nature are enough.

1.The title, the irony that there was nothing gigantic? A quirky film?

2.The New York settings? The streets and the attacks on Brian? The mattress factory, sales? Apartments, restaurants? The countryside and hunting? Reality and fantasy?

3.The surreal tone of the film? The focus on Brian, in himself, the physical and brutal attacks, his work? The encounters with Al Lolly? With Happy Lolly? His co-workers, the delivery, the taxi for Al Lolly to the doctor, his ambition to adopt a Chinese orphan, the relationship with Happy, with her father? With his own brothers, his own father and mother? The hunt, the fighting with the man and being shot, encountering him in the street, killing him with the knife? The disappearance of this theme completely from the film? The tests for the orphan, phone calls, the orphans’ arrival? A succession of incidents, characters? Brian as morose, the contrast with Happy?

4.The structure of the film, the incidents, one happening after the other – causal effect or not?

5.Al Lolly and his arrival, his assistant, money no object, trying out the beds, the bargain, going to the doctor, his aches? His home, the self-made man? His separation from his wife? Girlfriend? His daughters? His suspicions? Liking Brian, going to the doctor? His hypochondria with the doctor? The meetings, the family, his help?

6.Happy in herself, coming to the factory, going to sleep? The friendship with Brian, the relationship? The outings? The issue of the orphan, her not being able to face it, ringing her mother, her mother’s vagueness on the phone, her relationship with her father, the television program and her relationship with her sister? Brian at the station? Her decision to go to Paris, the fact that the course was cancelled, trying online? Pregnancy, ill? Meeting Brian’s family, the good talk with Brian’s mother on the balcony?

7.Brian’s parents, the father and his old-fashioned style and expectations, the wise mother?

8.His brothers, the brother with the advice, the Japanese and the massage sequence?

9.A point to the film – or just experiencing the characters?

TRANSFORMERS: REVENGE OF THE FALLEN

US, 2009, 150 minutes, Colour.
Shia La Boeuf, Megan Fox, Isabel Lucas, Josh Duhamel, John Turturro, Rainn Wilson, Tyrese Gibson, Kevin Dunne, Julie White, John Benjamin Hickey.
Voices of: Hugo Weaving, Anthony Anderson, Robert Foxwirth.
Directed by Michael Bay.

Demolition. Destruction. Devastation. These are some of the words that come to mind when asked what Transformers 2 is about. The film is a two and a half hours Heavy Metal bash – and each of the words is relevant. The Transformers themselves are literally metal – and gigantic and heavy as well. And the predominant action in the film is bash.

The first film was not always easy to follow – unless you are part of the target audience. That seems to be boys and young men (of all ages) who are passionate Play Station devotees, experts on the conventions and skills required for computer games (a bit like the hero's college room-mates in the film itself) and are intent on action following action rather than highly developed causal links between the actions or character motivation.

After a brief introduction (that could have gone on longer) which is a touch like 2001: a Space Odyssey with transformers entering into the lives of primitive peoples, the action moves to showing an alliance between friendly transformers and a secret US task force prepared to do battle (and they do) with rogue transformers. Shia LaBeouf? and Megan Fox, from the first film, find that their more tranquil suburban lives (and Shia going to college) are interrupted by emergency calls which leads to their mission to take the transformer matrix to a wounded Transformer Prime so that he be resurrected and confront the evil power grabbers who want to destroy Earth's sun and conquer the humans. Since this involves a trip to Egypt and a showdown near the pyramids, there is some spectacular desert location photography. (And John Turturro returns from the original film for some patriotic heroics.)

Of course, the special effects, especially for the mechanics of the transformations and for the fights are state of the art with reverberating boom sound engineering to accompany them.

Michael Bay continues his reputation for loud slam-bang action shows rather than for characterisation and plot. Perhaps it is he who should be blamed for the year's most frantic and annoying performance, from Julie White as Shia LeBeouf's whining and screeching mother – whom we would willingly sacrifice to the evil transformers if they wanted her.

Apart from the target audience and devoted fans of The Transformers, most audiences would need to warned about what they were letting themselves in for.

1.The target audience for the film? Young, male? Computer game and Playstation experience? Transformed to the big screen? How successful a film – for the wider audience?

2.The Japanese tradition, the Transformers and the animation films and television? The initial Transformers film? Loud, special effects, spectacle?

3.The production values of this film? The wide screen, the big budgets, the special effects, the action? Musical score? Impact?

4.The visual style, the sound engineering, loud?

5.The work of Michael Bay, action films, less interest in plot and development of characters?

6.The background of the good Transformers versus the bad Transformers? The prologue and the echoes of 2001? The early invasion of Earth, the response of people on Earth? The presuppositions from the first film? The focus on Sam and Mikaela, Sam’s parents? The military, Captain Lennox and Sergeant Epps? The protector Transformer in the home? The evil Transformers infiltrating society? The experience of their transforming? Their wanting to destroy the sun, to destroy the Earth? Sam and the mission, the matrix, the search for the good Transformer and inserting the matrix into it?

7.The battles, the visuals, the distinction between the good and the evil, the good overcoming the evil?

8.Sam, his character, the past, relationship with Mikaela? Going to college, his parents, his possessive mother and her weeping, the father and his letting him go? Their reappearing in the Egyptian sequences? The father forced to let his son go?

9.Going to college, the roommates, the various geeks and nerds, their computer set-up? The attractive girl? Her luring Sam? The revelation that she was an evil Transformer? The battle?

10.The mission, action, the matrix, the information, the army background, seeing the army in action, Washington and the generals, the surveillance? The trip to Egypt, the pyramids, the danger?

11.The military unit, Lennox and Epps? The personnel? Confronting the Transformers? Tactics, strategies?

12.John Turturro and the comic touch as Agent Simmons? From the first film? His collaboration with Sam? Going on a mission, his patriotism, the pyramid? His success?

13.The locations in Egypt, the desert, Sam and Mikaela and the struggles, Sam’s parents? The finding of the good Transformer, inserting the matrix? The resolution of the situation?

14.The Playstation ethos, Playstation sensibilities and mentality?

THE LAST THAKUR

Bangladesh/UK, 2008, 81 minutes, Colour.
Tariq Anam Khan, Ahmed Rubel, Tanveer Hassan, Tanju Miah.
Directed by Sadik Ahmed.

A rather serious and solemn story of life in a village in rural Bangladesh. A collaboration between Bangladeshi film-makers and British backing, this revenge tale takes place over one day, the day after an election in which the village leader, The Chairman, has been returned to power.

In the early morning as the men go to work, especially on building sites, a Hindu landowner surveys his property and the prospect of losing it as people who have bought the land cannot pay. He ruminates with his blind friend. In the meantime, The Chairman is hostile to , the last Thakur of the village.

In the meantime, a young boy offers a voiceover description of the characters and the political and personal tangles.

Later in the day, a younger man with a rifle comes to the village. He is looking for the man who raped his mother and is his father. He has initials – which apply both to and to The Chairman (who is hostile to his own son and advises him not to refer to him as father in public),

The tension mounts as the man with a gun confronts the men – and we know that it will end in violence and bloodshed.

The film is photographed beautifully on location, uses the landscapes and the old buildings to dramatic effect. A stylised tale that communicates the atmosphere of a different world in Asia's sub-continent.

1.A Bangladeshi story? The storytelling? Ancient tales and sagas?

2.The British collaboration? Backing, technical? The work of the director?

3.The colour photography, the landscapes of rural Bangladesh? The village, homes, ancient buildings? The musical score? The beauty of the surroundings – and the sombre action of the film?

4.The structure: the indication of the hours of the day, the day passing, the effect of the action? The day after the election?

5.The voice-over, the boy, his observations on each of the characters, on their background, interactions, the village? His appearing in the context of the story? As a servant? With Thakur and with the chairman?

6.Thakur and his blind friend? The Hindu background? Owning the land? Selling it to the people? Their not paying, his making demands, his losing the land? The hostility of the chairman? Wanting to get rid of him? The arrival of Kala? His hoping that Kala would destroy Thakur?

7.Thakur, his life, age, experience? The passing of the day? His bewilderment about the land? The after-effect of the election? Kala and his confrontation, the accusations, his being innocent? His telling the truth? His being shot? Victimised by the chairman’s henchmen? His finally being shot by the chairman’s son? His telling the truth to Kala – and Kala finally believing him?

8.The chairman, his character, his power? His politics, manipulation of people? Financial deals? The re-election? His henchmen? Waris as a servant? His antagonism towards Thakur, political, financial, religious? His finding Kala and the rifle? Wanting him to use it against Thakur? Following, observing, the day passing? The shooting of Thakur? His revelation of the truth, discussions with his son, his despising his son? The henchmen? Kala and the confrontation? The shooting?

9.Kala, military, the guard, the rifle? Arrival in the village, knowing the initials of the assailant of his mother? His wanting revenge? The presumption that it was Thakur? Shooting him, listening to him protest his innocence? The final confrontation of the chairman? The truth? His being killed?

10.The henchmen, brutality, the taken-for-granted violence? The son, humiliated by his father, not being allowed to call him Father in public? His doing the final shooting – and wearing the shawl of authority after his father’s death?

11.The religious background, Islam and Hinduism? Bangladesh and its religious difficulties? A story of revenge?

RUDO Y CURSI

Mexico, 2008, 103 minutes, Colour.
Gael Garcia Bernal, Diego Luna, Guillermo Francella, Delores Heredia, Adriana Paz, Jessica Mas.
Directed by Carlos Cuaron.

Rudo and Cursi are nicknames for two half-brothers, Beto and Tato. Rudo is translated as 'tough' and Cursi as 'corny'.

This is the first production venture for a company started by three of Mexico's best-known international directors, Alejandro Gonzalez Inarritu, Guillermo del Toro and Alfonso Cuaron. The film has been written and directed by Cuaron's younger brother Carlos and stars the young actors, Gael Garcia Bernal and Diego Luna, who made such an impression in Cuaron's Y Tu Mama Tambien and have gone on to successful careers. All this by way of background, but also a build-up to say that one might have expected far more from such talent.

This is a conventional enough story of two young men from the provinces who are stuck there with their dreams. By chance they are spotted by a talent scout and agent as they play football. Tato gets the nod and goes off to Mexico City where he becomes an instant star (for a short time). Beto is the manager of a banana plantation. But, he is also a top goalkeeper and soon he is invited to play professionally and is in line to break a record for goals saved.

So far, so expected. Actually, the next part is also expected. Gambling, women, drugs and collapse.

The dramatic question for the end is whether they will recover their abilities and play themselves out of trouble or whether they will continue their downward spiral. Gael Garcia Bernal and Diego Luna have proven that they can dominate a film. They play well off each other. But, whether there is enough energy and stimulation in the film to draw the audience in, is debatable.

Perhaps the atmosphere of the soccer games is a plus for some audiences. And Guillermo Francelli is fine as the smooth-talking agent. Perhaps, with the credentials of those involved, we were expecting too much.

1.The appeal to a Mexican audience, football fan audience? Worldwide?

2.The production background, the Mexican directors and their prestige? The stars? The writer-director? The final product?

3.The Mexican settings, the countryside, the village, the home, the banana plantations? The contrast with Mexico City, the football arenas? The gambling? The clubs, circus, karaoke? Authentic feel? Style of photography? The music, the songs?

4.The title, Tato and Beto, their nicknames meaning tough and corny?

5.The introduction to the brothers, their mother, the different fathers and the rivalry? Their work in the banana plantation? Beto and his authority, serious-minded? Tato and his work, singing, carefree? Beto and his wife, family, daughter? His gambling? Tato and his wanting to go to the US and be a singer? The table discussion, the mother, the stepfather, the clashes within the family? The sister – and her later marrying the don – and their ignoring his drug lord background?

6.Going to the football, Tato and his encounter with Batuta? The wheel, taking it to the garage? Genial? Batuta and his women? His role as a talent scout, agent? Going to watch the match, seeing the two brothers? His setting up the competition, king(**??) …. the goal? Tato misinterpreting Beto? Tato being employed, Beto’s resentment?

7.The difficulties at home, Beto and his wife, her demands? Her clashes with her mother-in-law, the blender…?

8.Tato, going to the city, introduced to the team, the hazing in the shower? His playing, on the bench, finally a match, the village watching it on television, Beto and his resentment? Tato becoming a star? The fans?

9.Tato wanting to be a singer, Batuta helping him? The record? The music video, the parody, his talent for singing – or not? The karaoke? Singing to the small group at the circus? His being upset?

10.The situation for Beto, the phone call from Batuta? His coming to the city, his reaction to the hazing in the shower? Strong-minded? His skill as a goalkeeper, stopping the goals? Almost getting the record? The two brothers and their fans?

11.The downhill road? Tato, wanting to meet Maya, her appearances on television? Initially ignoring him? Going out with her, spending his money, the proposal? Her dumping him? His resentment? Anger, smashing things, going to pieces? His having to be tranquilised? The contrast with Beto, his continued gambling? In debt to Batuta, to the criminals? His wife coming with their daughter? Her business success – and the wrong counting for her to be the employee of the month?

12.The build-up to the final match, Batuta and his wanting Beto to rig the match? Paying off his debts, the phone calls and the threats? The irony of the fans threatening Tato and yet wanting his autograph?

13.The match, Tato tranquilised, his eventually going on, the messages from Beto via the boy? Beto, his dilemma, whether to rig the match or not?

14.Tato going on, his skills, the set-up for the penalty? Beto and the plan for him to score? Beto automatically stopping it? The match as a draw? Batuta and his anger?

15.The aftermath, Batuta and his narrative throughout the film, his point of view? Tato and his being shot, losing his leg, local coaching? Beto and his playing in the club? The background of the family with the don, the wedding sequence and everybody happy? Their money having a home on the beach?

16.The finale on the beach, the two facing reality – and their future?

YEAR ONE

US, 2009, 97 minutes, Colour.
Jack Black, Michael Sera, Oliver Platt, David Cross, Christopher Mintz- Plasse, Vinnie Jones, Hank Azaria, Juno Temple, Olivia Wilde, June Diane Raphael, Xander Berkely, Gia Carides, Matthew Willig.
Directed by Harold Ramis.

Not really Year One, of course, but somewhere, vaguely, 'back then'. It opens with hunters and gathers, moves into an area of farmers (Cain and Abel as well as Adam and other family members), then, suddenly, Abraham and Isaac and a long visit to Sodom.

A reviewer remarked that it need not (should not?) be seen by anyone over 16. A bit harsh. Of course, it's no masterpiece (nor ever intended to be). But, should you happen upon it, it is advised to put your mind into neutral and just coast along because, while it is not particularly funny (unless you have never heard a lot of the jokes before), it is often enough amusing for the moment.

Harold Ramis has made some good comedies like Groundhog Day. Here he is, as co-writer and director, in the vein for broad spoof. He has probably been looking at History of the World Part I and The Life of Brian (think of the stoning in that film and the stoning here). Mel Brooks is not always as subtle as the Pythons but he has a persuasive sense of humour. Year One is not in that league, relying on corny jokes, some bodily function humour (not too much), and the incongruity of characters with 21st century language and attitude using it in a BC situation.

If you like Jack Black's brand of self-deprecating but vain comedy, with his rubber-faced expressions and his boisterous remarks and timing, then you won't be disappointed. This is very much a Jack Black stand-up comedy routine film.

To his neo-Oliver Hardy is Michael Cera's neo-Stan Laurel. Just as Jack Black always does his schtick, so Michael Cera tends to be same (Superbad, Juno, Nick and Nora's Infinite Playlist). However, his style is as introverted as Black's is extraverted. He has a fine sense of timing and a tone that combines innocence, common sense observation, a would-be shrewdness and a flair for deadpan one-lines finely delivered.

I don't know what Oliver Platt thinks now of his charade as the overbearingly effeminate high priest. He has probably hurried on to his next film.

Whether Cain and Abel would enjoy the film, I'm not sure. David Cross's Cain gets a lot of screen time while Paul Rudd's Abel... well, we know what happened there. Harold Ramis is Adam. Hank Azariah is Abraham with a thing about imposing circumcision on his enemies in Sodom. Not meant to be offensive to Bible readers and believers, just some corny religious spoofing.

1.The target audience? The spoof, the stand-up comedy? Modern ethos in an ancient setting?

2.The strong cast, Jack Black and Michael Sera as a type of Laurel and Hardy? The range of comedians? The work of Harold Remis?

3.The ancient world: the village, huts, hunting the boar, seeing the cougar and its attack, the python? The transition to farms and wagons? The city, Abraham and Isaac? The city of Sodom, the palaces, squares, temples, costumes and décor? The feel of the past?

4.The cinema influences, Mel Brooks, the Monty Pythons?

5.Modern and ancient, language, phrases, accents? Knowing and unknowing?

6.The world of the hunters, wounding Marlak? The people against Zed? Oh and his being a gatherer, the strawberries, put upon? The attraction towards Maya and Eema? Village life, the feast, the dancing, the rituals, the cavemen hitting the women over the head? The male dominance?

7.The introduction to Zed, Jack Black and his presence, style, look, references to his being fat, the stand-up patter, wisecracks? The incongruous behaviour? His being in denial, his vanity, self-deprecation, heroic and delusional, cowardly? Eating the fruit of the Tree of Knowledge, the experience of having knowledge? His speech about leaving, accidentally burning down the village, people chasing him? The bodily function jokes, the bear?

8.The contrast with Oh, gathering, the delivery of his lines by Michael Sera, a blend of the wise and the innocent, his timing, the points he was making, sense and intelligence, sexual relationships, love for Eema, with Zed, the snake, losing everything, the cougar attack, making the fire, making arrows?

9.Zed and Oh and who was the leader or not? Their arguments? The encounter with Cain, witnessing his murder of Abel? Adam, the family, dinner? The search for Abel’s body? The ride on the wagon making them sick because of the speed?

10.Cain and Abel, their characters, the killing, Cain rationalising, his attitude towards his family, the daughter and lesbian, the jokes about the wagons, the pursuit?

11.Abraham and Isaac, the familiar story, Zed stopping them, the argument, Abraham’s explanation about circumcision, the attack on Sodom, the description of Sodom?

12.The preparation for Sodom, Zed and Oh and their decisions?

13.Being taken as slaves, Maya and Eema as slaves, Cain selling them in the marketplace?

14.The soldiers, Vinnie Jones as Sargon? Hard? Zed and Oh in uniforms, going to the city, not bowing before the princess?

15.The night, the gathering, Zed and his being summoned by the princess, dared to go into the Holy of Holies, finding Oh inside? The high priest, the massage, Oh painted in gold?

16.The king and queen, power, the prime minister, princess, the role of the high priest, the sacrificing of the virgins?

17.In prison, Oh hanging upside down, his urinating? Zed’s reaction? Their being freed?

18.The crowd, the sacrifice, the role of the high priest, his going into the fire, Zed interpreting it as a sacrifice? The building, the collapse, Zed as the Chosen One and offering this as a sign? The revolution, the king and queen, the prime minister trying on the crown and leaving? Maya, the princess giving her a drink? The coming of the rain?

19.Oh, his leadership, saving Eema, his relationship with her, Maya and the kisses with Zed?

20.The princess and ruling at the end? The farewell, their going? The overall impact of the comedy? How funny, amusing, childish, adult?

ULEE’S GOLD

US, 1997, 113 minutes, Colour.
Peter Fonda, Patricia Richardson, Christine Dunford, Tom Wood, Jessica Biel, Vanessa Zima.
Directed by Victor Nunez.

Victor Nunez does not make many films but he has made a few of deep emotional force, strong character studies, Gal Young' Un, Ruby in Paradise. Ulee's Gold is a more ambitious film and offers Peter Fonda an opportunity to show skills in a role that his father might have appeared in (and this is a compliment). He is a Florida beekeeper, Vietnam veteran, widower, caring for his granddaughter. The film shows the detail of the family's life but also introduces contemporary themes - a drug-ridden daughter-in-law needing care, the money stolen by his son sought by petty criminals, threatening his family. Nunez' sensitivity makes this material memorable and also shows that violent situations can be resolved in other ways. A surprise, and moving.

1.A small-budget film? The work of the writer-director? Small stories, humane stories? The focus on real life?

2.Real life as a foundation and context for action, for melodrama – characters asked to do things they would never have normally dreamt of doing?

3.The Florida settings, the home? The importance of Ulee being a beekeeper, the film’s great attention to the detail of his work, the bees, the hives, producing the honey? Processes and work? The musical score?

4.Peter Fonda as Ulee, awards and nominations? His name, Ulysses, the overtones of the Odyssey – and the names of Helen and Penelope? The work, his life, Vietnam? His dead wife? His son, in prison, his wife and her addictions, abandoning her children? Looking after his granddaughters? His concern about his son? Set in his ways, the rhythm of his life, the challenges? Connie and her coming to live nearby, neighbour, friend and support?

5.Jimmy, the robbery, in prison? His wife and her addictions, leaving him? His request to his father, to help Helen? To track down the money? Its being hidden in a truck? Eddie and Ferris, the accomplices in the robbery, their personalities, wanting the money, arriving and threatening the family? Taking Helen and the girls?

6.The young girls, their age, their father in prison, their mother and drugs, being cared for by their grandfather? Relating to each other, to the family? The situation, their being taken, their mother returning? Coping, ingenuity?

7.Connie, her personality, new to the area, friendship? Her interest in Ulee? Her concern, freeing the women?

8.Eddie and Ferris, the fights, the threats, the gun and Ulee throwing it in the water? The intervention of the sheriff?

9.Ulee, the search for the money, finding it, his being wounded? His not going in for false heroics? In the hospital, the visit of the sheriff? Not mentioning the issue of the money?

10.Helen, her life with Jimmy, his failures, her children? Her going down, the drugs, addiction, leaving home? Ulee getting her back, the possibility of recovery? Experiencing the threats, with her daughters? Change?

11.The neat ending, the end of Ulee’s odyssey, coming home, the reconciliation with his daughter-in-law, her conciliation with her daughters? A happy ending – appropriate for these characters?

THE GREATEST GAME EVER PLAYED

US, 2005, 120 minutes, Colour.
Shia La Beouf, Stephen Dillane, Elias Koteas, Luke Askew, Peter Firth, Len Cariou, Stephen Marcus, Josh Flitter.
Directed by Bill Paxton.

The Greatest Game Ever Played sounds an over-dramatic title but it a feature about the US Open Golf Championship of 1913. Up till then, only one American had won and golf had been dominated by the British, especially by the celebrated Harry Vardon from the island of Jersey.

The film is not just about golf, and those who do not know the sport or understand will still find the film interesting and entertaining. The golf sequences, however, are filmed excellently.

The film was directed by actor Bill Paxton who also made the thriller Frailty.

Shia LeBeouf? had proven himself a juvenile actor on television with the children’s series, Even Stephens. He had made the transition to films well with Holes. However, after The Greatest Game Ever Played his career took off substantially with such teenage thrillers as Disturbia and Eagle Eye but also with such dramas as The Transformers, Indiana Jones and the Kingdom of the Crystal Skull and Oliver Stone’s sequel to Wall Street, Money Talks.

The film also has strong supporting performances by Stephen Dillane as Harry Vardon and, especially, a serious bearded Luke Askew as Mr Campbell?, the coach for the young Francis Ouimet, the twenty-year-old who beat the British and won that Open game. Josh Flitter steals a lot of scenes as the rather chubby caddy who supports Francis Oiumet during the tournament.

The film also has strong themes about class, Harry Vardon as victim of Jersey and British society looking down on amateurs as does Francis Oiumet who serves as a caddy for the local Boston club but is not allowed to join. It is the triumph of those who have dreams and talent who are able to transcend the limitations of the society in which they live.

The film is both interesting and entertaining.

1.A film about golf, the tradition of golf films? The target audience? A wider audience?

2.A piece of Americana, the United States versus the United Kingdom, patriotism, winning in sport, the underdogs?

3.The film based on a true story, the early 20th century? Talent, competition, achievement?

4.The opening in Jersey, the austerity of the Vardon house, the large family, Harry and his love for golf, the black-coated and top-hatted men and their snobbery, condemning him? Their later appearances in his imagination – and his dissolving them?

5.The contrast with Boston, the Oiumet family, their poverty, hardworking? Francis and his love for golf, his father’s strictness and not understanding golf? His mother’s encouragement? His missing school to go to the demonstration, his being the volunteer and Harry Vardon helping him? His aims in life?

6.Francis as a caddy, the snobbery of the members of the club, their elitism, disdain for the caddies? Campbell recognising his talent, seeing him watch him with the clubs, encouraging him? His being chosen to play as an amateur in the tournament? His dressing up and going to the party? Meeting Sarah, saving her from the unwelcome suitor? Her brother and father and their snobbish attitude towards him? His father unwilling, the discussion, his promising to give up golf if he lost the tournament? Playing, over-confident, losing? Its effect?

7.Harry, his being a champion, in the UK and the United States? Hoping to be invited to join the club? The discussions with the club members, his being asked to coach? Class issues? His return to the United States, seeking out Ted Ray in Jersey, the rough Jersey style?

8.Francis, at work, in the shop, for years, the taunts from co-workers, Sarah’s visit? His going to the theatre with his mother, talking about dreams and the experience of one’s talent? The visit and the offer for him to play in the Open? His refusal, changing his mind? His father’s harsh attitude? Ousting him from the house?

9.The tournament, losing his caddy? His friend Eddie? Eddie being the caddy, his personality, size, short? A young boy? Supporting Francis, shrewdness, offering good advice? The comic touches?

10.The filming of the rounds, the US champion and his defying the British, his own lack of success, being tricked by Harry Vardon, failing? The British, their skills? Francis and his ordinariness? His being coached by Campbell? The journalists’ interest in him? Featured in the papers? His father and the newspapers?

11.Francis and the scores, the collages of the scores and the holes? Francis’ growing success?

12.The build-up to the playoff, the British and their snobbery, relying on Vardon and Ray to win? Harry and his harsh statements to Lord Northcliffe? About snobbery? The Americans and their wanting an alternate caddy for Francis? His refusal? The progress of the last round, Ray hitting the tree, Harry and his missing the hole? Francis and his win?

13.His father’s change of heart, coming to congratulate him? The taking up of the money to give to Eddie, passing around the hat?

14.The relationship with Sarah, her giving the good luck medal to Eddie, his giving it to Francis? Her coming to watch him?

15.The finale, the acclaim, Francis being carried as a hero?

16.The information at the end of the film, Francis’ achievement? Harry Vardon and his reputation? Eddie and Francis being friends all their life – and Eddie being a pallbearer at Francis’ funeral in 1967?

DANGEROUS MINDS

US, 1995, 99 minutes, Colour.
Michelle Pfeiffer, George Dzundza, Courtney B. Vance, John Neville.
Directed by John N. Smith.

I would have preferred the original title and of the book, `My Posse Don't Do Homework'. This is the 90s equivalent of To Sir With Love. Michelle Pfeiffer leaves the marines and wants to teach and, of course, she gets the bright but hardest students from the ghetto. Since the outcome is assured, it is watching how it happens - and the effect on the teacher as well as what she uses to get the students' atttention and keep it. (This time it is the lyrics of Bob Dylan and the poetry of Dylan Thomas.) Nothing out of the box, but, as usual, some noble sentiments and some warm feelings. Morale booster for teachers.

1.The title? The original book title, My Posse Don’t Do Homework?

2.The education theme, in the United States, different students, talented students but misfits? Dedicated teachers? Struggles? The struggle worthwhile?

3.The school and its resources, its look, the classrooms, offices? The homes in the neighbourhood, the contrast with the restaurant? The fun park? The musical score and songs?

4.The film based on fact? The tradition of American films about schools – the To Sir With Love, Up the Down Staircase tradition?

5.LouAnne Johnson, Michelle Pfeiffer and her screen presence, appearance, the background of her life, the abusive husband, the abortion, the divorce? Her time in the Marines? Her karate skills? Her desire to teach? Her friendship with Hal Griffith, the past, his wife, friendships? The interview and his arrangement? Carla and her giving LouAnne? immediate employment? No warning about the students? The reception, her decision to leave the room, rethinking her plans?

6.Hal as a friend, the friendships of the past, talking with him, the job, his help and encouragement? In himself, saying that he was mad and dedicated?

7.LouAnne reading about discipline, changing her clothes, going to the classroom, drawing the students’ attention? The background of being a Marine, the karate demonstration? The reactions? The different students, Emilio as the leader? Callie as supportive? The issue about death, choices? The secretary and the principal using these examples against her? The strong emphasis on choice? (And the later irony of Emilio’s death?)

8.The principal’s assistant, her keenness, the rules? The principal, urbane, African American? The issue of knocking? Proper, the rules, the curriculum? His later not allowing Emilio in because he didn’t knock… and the consequences?

9.LouAnne teaching poetry? Hal reminding her of Bob Dylan’s lyrics? Her use of Mr Tamborine Man, the discussions, the issues, the codes? Her decision to give everyone an A and challenge them to maintain that? Their work, the outing to the fun park? The competition about Dylan Thomas’s poetry? Their going to the library, reading the poetry, the winners? Callie and the takeout? Raoul going to the dinner, borrowing the money for his coat, wanting to work, LouAnne? lending him the money? His saying it was the most generous thing anybody had ever done for him? The waiter, his attitude? Choices? Being abrupt with the waiter? The deal with LouAnne? about paying back the money and graduating?

10.Emilio and his reactions, talking with Lou Anne, the issue of help? His coming on-side, responding to a question, the others responding? Later, the difficulties, talking with her, going to the principal, his not knocking, his death?

11.Callie, bright, pregnant, her mother, booked into the alternate school, to train for motherhood? LouAnne? visiting the home, the discussions with the mother? Callie’s return to school, to persuade Lou Anne to stay?

12.Raoul, his parents, Lou Anne’s visit, praising their son? His experiencing the dinner, the lending of the money? His upset when LouAnne? wanted to leave?

13.Angela, the relationship with Emilio, her grief at his death?

14.The two boys demonstrating karate, their leaving school, Lou Anne’s visit, the grandmother’s fierce attack on her?

15.LouAnne’s grief at Emilio’s death, wanting to leave, talking about her favourites – and Raoul explaining that all the others had stayed? Her final decision? The students and their persuasion?

16.LouAnne’s Johnson’s achievement with this group, offering hope, inspiration – and models of method for getting the attention of such students and keeping it?

SPHERE

US, 1998, 135 minutes, Colour.
Dustin Hoffman, Sharon Stone, Samuel L. Jackson, Peter Coyote, Queen Latifah, Liev Schreiber, Marga Gomez.
Directed by Barry Levinson.

In the tradition of The Abyss, Aliens and all those science fiction stories where scientists trapped in a confined and unfamiliar craft, are so terrified that they materialise their fears. This time, a sunken spacecraft contains a beautiful but mysterious sphere that transforms the scientists drawing out their destructive forces. And for those who like this sort of thing, there is the added value of Dustin Hoffman who does not normally appear in this kind of film as well as Sharon Stone and Samuel L. Jackson. Initially there is some sharp dialogue and satire but then the movie goes into monster mode. Barry Levinson is more at home with Rain Man, Sleepers, Wag the Dog but he makes the proceedings look classy. Claustrophobic encounters with the id and with an alien world.

1.Science fiction? Science fantasy? Based on the work of Michael Crichton? Imagination about science, the future? The psyche?

2.Science and black holes, time travel, the spheres, aliens, the sphere and its power to take over the human psyche? Exploration of these themes?

3.The psychological dimension, the staff, Norman Goodman and his background? Going into the sphere, the release of the subconscious and unconscious from the psyche? The terror dimension? The destructive dimension?

4.The underwater location, the sea, the vessels?

5.The title, the sphere as a perfect shape, its appearance, audience expectations? The dashing of expectations with destruction?

6.Captain Barnes, the submarine, his command, personality, relationship with the crew, having the scientists on board? In action, handling the crises?

7.The experts and their background, talent, expertise, working as a team? The bond between them? The background of Norman and Beth and their relationship? Harry and his going into the sphere, the effect? The deaths of the other members of the team? The creation of the character Jerry? The life of the sphere? Control? The need to be freed from the sphere and its influence?

8.Norman, Dustin Hoffman’s style, psychologist, background and training, expertise, the past relationship with Beth? Coming on board, his task? Exploring the sphere? The puzzle? The experience with Harry? Having to cope, going into the sphere, the deaths, the effect on him and Beth? Dealing with it at the end?

9.Beth, her past, relationship with Norman, expertise, the reason for her being on board, her discoveries and amazement? With Norman and Harry, the dangers? Going into the sphere? The effect on her? Dealing with the effect of the sphere with Norman?

10.Harry and his expertise, his going into the sphere, coming out again, destructive, the deaths of the other members of the crew? His loss of memory? His being the target?

11.Fletcher, her role, the dangers? Fielding and his expertise, the deaths of the other members of the staff? Supporting?

12.The blend of realism, fable? The nature of the chapters, delineating the events, in the form of a report?

13.How effective the fantasy elements, the sphere itself, time travel, at the bottom of the sea, the aliens, the releasing of the unconscious and subconscious? The message of this kind of science fiction fable?