BODY OF LIES

US, 2008, 129 minutes, Colour.
Leonardo di Caprio, Russell Crowe, Mark Strong, Golshifteh Farahni, Oscar Isaac, Ali Suleyman, Vince Colosimo, Simon Mc Burney.
Directed by Ridley Scott.

Writer William Monahan wrote the Oscar winning film, The Departed, a crime and police thriller that was intricately plotted, two young men, one criminal in the police force, the other a deep cover agent in the crime world, pitted against each other. His screenplay for Body of Lies has two men pitted against each other and audiences may well be asking themselves if they are watching a criminal world – the intricate plotting world of the CIA, its engagement in Iraq and the 'war against terror'. And the film stars one of the young men of The Departed, Leonardo di Caprio. This time he is pitted against Russell Crowe, even though they are officially on the same side.

Ridley Scott has proven for over thirty years that he can tell stories (think Alien, Blade Runner, Thelma and Louise, Gladiator for his versatility). He has also ventured into US conflicts with Black Hawk Down (and G.I.Jane) and looked at the middle east, albeit in Medieval times, in Kingdom of Heaven.

Body of Lies is a brisk action thriller as well as a psychological and verbal conflict between two officials dealing with the Middle East.

Both Di Caprio and Crowe have self-assured screen presence, confident in their interpretation of their roles. Di Caprio is Roger Fells, a young field agent in Iraq (where he witnesses torture), impulsive in trying to do the right thing by his agents despite the armchair (and ear-plug-always-in-the-ear detachment of the heads in Langley). He is moved to Jordan and given freedom of action, yet Crowe as, Ed Hoffman, his superior (a getting-towards-obese husband and father whose life is a blend of picking up the kids from school and making life and death decisions at the same time) interferes behind the scenes working on a need not to know agenda. The CIA have the advantage of sophisticated spy satellites with powerful zooms which can look at action any time, anywhere.

In Jordan, Fells makes contact with the head of Jordanian security, Hani (a masterful performance by Mark Strong) who demands absolute honesty all the time. This requirement is not on Ed Hoffman's list of musts, so Roger falls foul of operations in Amman and Hani's anger.

If audiences think that this is the body of lies, they have much more awaiting them. The CIA invents a conspiracy designed to flush out Jihadic extremists. The film opens with a police operation gone wrong in Manchester, later has an explosive massacre in Amsterdam and troubles in Amman to keep reminding us that the war on terror as well as the terror itself is global. (This reviewer watched the film the day after the Mumbai November 2008 attack.) This body of lies is meant as strategy but innocent men and women are set up, tricked, bewildered and their deaths seen, without emotion, as collateral damage.

There is a further body of lies towards the end which gives some more edge to proceedings.

Filmed, as all the Iraq films have been, in Morocco, Body of Lies, is contemporary in its immediate relevance but also a timeless action thriller. And Di Caprio, Crowe and Strong give memorable performances.

1.A topical film? Relevant? The background of the Iraq war, the invasion of Afghanistan? A critique of the role of the US?

2.Different audience attitudes towards the war in Iraq, Afghanistan? The conduct of the war, of the American personnel, the soldiers, the agents? The background of torture? Spying, the agencies?

3.The title and expectations, the Americans and their lies? Hoffmann and his lies? Ferris and his scenario? Hani and his lies at the end? Al Qaeda and the Arab leaders and their lies and propaganda?

4.The Middle East settings, atmosphere, Afghanistan, Jordan, the city of Amman? The contrast with Washington, life in the United States? The musical score, the mood for the situations and action?

5.The introduction to Ferris, at work, his driver? The American surveillance, his contact, the Afghanistan background? Getting information, the treatment of the man, suspect? His memories of being present at torture? The isolated building, the desert, the man’s fear, his being a professor, his choosing terrorism, his risk? Hoffmann and his cavalier attitude? The attack? The death of the professor?

6.Hoffmann and his work for the agency, the American perspective on Afghanistan, the officials? Hoffmann in himself, his shabby and shambling appearance, his attention to detail, yet detached and impersonal about people? The surveillance technology? His commands? At home, the domestic issues, his house, the pool, the children, taking them to school, answering the phone about important matters while being on the kerb outside the school? The audience assessing him?

7.The assignment of Ferris to Jordan, his task, meeting the staff and the clash with them, his ambitions, the official and his spurning of him? Hani, the meeting, Hani’s style, preferring honesty, sharing information?

8.Hani as a person, his role in Jordan, intelligence? The use of torture? Middle East sensibilities? His staff, drivers, agents, connections? The information from Ferris? The information about the terrorists? His dislike of Hoffmann? The meetings?

9.The terrorists, the groups, the imam and his talks, inspiration to bombers, the actual bombings, the destruction in Amsterdam? The claims? Elusive, the agencies not knowing exactly where they were? The infiltration, Hani and his power over the man to go back into the organisation and give information? The role of loyalties?

10.Ferris and the clash with Hani, his driver pursuing the contact, the shooting? Ferris and his being abandoned on the outskirts, the rabies? Hani wanting him removed, because he was not telling the whole truth? His going to Washington? The contact with the technological expert? His being impersonal? His links with computers, his ability to change data? Ferris choosing an innocent man, setting up an alternate scenario, the base in Dubai? His changing his hair and appearance, going to meet the man, the plan? The network of terrorists and their curiosity? Ferris wanting to flush them out? The victim, his bewilderment about the messages on the websites, his fears, meeting Ferris, running, his death? The terrorists congratulating him? The use of the Turkish scenario, the bombing? Its being visually truthful, yet fake? Ferris and his reaction to the death of the man? Hoffman and his considering it collateral damage? Hani and his reaction?

11.In Amman, Ferris with his driver, the driver working for Hoffman, the surveillance, the shooting? Ferris angry?

12.The rabies, meeting the nurse, the discussions, his making dates, his going to the dinner, its being used later to trap him? The nurse’s abduction, his reaction, the phone messages, the appointment? Being taken by the terrorists, the leader, the interrogation, the torture? The last-minute rescue – and the irony of Hani and the complete set-up?

13.Hoffman in Amman, meeting Hani? The mutual dislike? The reaction to Ferris being taken, the surveillance, the desert? The role of the CIA? Ferris and his reactions?

14.His leaving the agency, the possibilities for a different life? Meeting the nurse? The CIA and wanting him to continue working, in Amman? Hani willing to support him?

15.The film as offering a perspective on international relationships?

SIN NOMBRE

Mexico, 2008, 96 minutes, Colour.
Paulina Gaitan, Edgar Flores, Kristyan Ferrer, Luis Fernando Pena, Tenoch Huerta Mejia.
Directed by Carey Fukunaga.

An impressive and disturbing film.

The writer-director, for his first feature film, lived amongst the migrants from Honduras and Mexico who would become the 'illegals' in the United States. He experienced their backgrounds, their hardships and poverty as well as the dangers that they encountered along the way from the Honduran border to the Mexican/US border, not only the patrols but also the vicious gangs who would rob and assault them (with even Mexicans throwing rocks at the passing Hondurans telling them they were not welcome in their country). He rode the roofs of the trains with them.

And that is what he wants to communicate to his audience – and he does so successfully.

Sin Nombre means 'Without a name' or 'Nameless'. This refers to the migrants. The gang members have more than one name, their personal name but, more valued, the nickname, code name, that they receive after going through some fierce initiation rites (being kicked brutally by the gang for 13 seconds to prove their toughness, killing a member from a rival gang and being tattooed, or really, branded.

The director immerses us in the life of the Mara, a powerful gang with tentacles as far as LA. Willy (real name) who is Caspar (code name) draws a 12 year old, Benito, who becomes Smiley, into the gang. It is his initiation we watch with alarm. In the meantime we see a young woman in Honduras who is persuaded to accompany her father and uncle to go to New Jersey.

At the border, the two stories come together. Willy has been dismayed by the actions of the leader of the gang and there is a confrontation which puts Willy on the run, pursued by gang members, especially Smiley who is ordered to kill Willy.

This part of the film takes the audience with the migrants, often on the top of huge goods trains lumbering through the often beautiful Mexican country side. Some of the long shot vistas of the trains are quite magnificent, especially with the crowd of people squatting on the roofs of the carriages.

The fate of many of the characters is grim. There are some touches of hope but prospects for most of them are dismal whether they die on the way to the US, are deported to Honduras from Mexico, are robbed or raped during their journey or are trapped in the vicious loyalty to the gang.

We have come to expect powerfully made films from Latin America about gangs and violence (City of God, City of Men, The Lower City). The characters are not only well drawn but they have a depth, even an interiority about them which means that the film makes a stronger impact emotionally. As well, there is much food for thought about the migration issues in the Americas. Sundance Festival winner for direction and for photography.

1.The impact of the film, as drama, as reality? As moral issues?

2.The title, the references to the migrants, the nameless? The contrast with the members of the Mara gang, with their new names, code names?

3.The Mexican and Honduras locations, the atmosphere of Central America? The landscapes, the mountains, the countryside? The villages, the bigger towns, the highways? The rails? The slums, poverty? The river and the American border? The contrast with the affluent American town?

4.The two-strand structure, the Honduran migrants, the gang members in Mexico? The strands coming together at the border town? Decisions, action? The consequences of decisions – leading to tragedy? Fate or destiny?

5.Casper/ Willy? His arriving at Benito’s house, the attack from the grandmother? Taking Benito to the gang, to the chief, Lil Mago? The sudden bashing and kicking of Benito? The initiation rite with Casper joining in? Giving him a new name: El Smiley? The demand that he kill one of the enemy? Giving him the pipe gun? Setting up the prisoner, El Smiley killing him?

6.Lil Mago as leader, like a cult leader, his power and influence, mesmerising? The variety of members of the club, going into the club itself, a dive? Their clothes, the abundant tattoos? Their way of life, loyalties? Spreading throughout the Mexican countryside? To Los Angeles? Their enemies? Their crime – and robbing the migrants?

7.Willy and his love for Marthe? Their relationship, taking Smiley along? His lies about this to Lil Mago? Lil Mago accusing him? Bringing the girl to the compound, Lil Mago attacking her, shoving her to the ground, her hitting her head, her death? His rationalising the situation to Willy? Willy and his tears and grief? The consequences?

8.The Hondurans, Sayra and her age, family, with her uncle, the alienation from her father, his new family in New Jersey? Her life, the opportunities, her defiance, her being persuaded to travel to the United States? Their getting to the border? The Mexican reaction?

9.The migrants, the big group, families, in the hostels, on the move, getting the train, on top of the train, the vistas of the train with the people on the roofs? The possibility of falling between the carriages and dying? The rain, the tarpaulin covers? The criminals, robbery, attempted rape? The migrants and their perseverance? Getting on and off the train? The threat of the border patrols? Running around the town streets to circumvent them?

10.The gang, the mission, robbing the migrants? Lil Mago taking Casper and Smiley? The brutality, taking the money? Sayra, Lil Mago’s attack, the attempted rape? Willy and his suddenly killing him? His decision to stay on the train, the initial hostility of the people, their accepting him? Sayra helping him, talking with him, offering him food? His giving them advice, accompanying them, running around the town to avoid the border patrol? The hostel? Sayra and her warm response, gratitude towards him? His saying that he was a dead man and that there was no future in her being with him?

11.Smiley, the experience of the killing, going back, reporting to the new leader, his fear? El Sol taking the leadership? Revenge, the group and their grief? The squads, the pursuit, by car, ambushing the train, not finding Willy? Getting onto the train, the chase? Willy and Sayra getting off, the help from the woman at the café, the woman telling the gang? Smiley commissioned to kill Willy, his boasting to the other little kids?

12.Sayra leaving the train, following Willy after he departed? Her father’s death between the carriages? Her uncle being deported? At the café, the woman hiding them in the car, the gang searching – but their having got away?

13.Willy paying for them to cross the river? The man wanting the money, greed? Sayra in midstream when the gang found Willy, Willy and the chase, Smiley confronting him, killing him?

14.Sayra, going to the US, seeing the affluent town? Phoning the family in New Jersey, having memorised the number? Her future?

15.The issues of Central America, poverty, social concern, crime? The migrants and their plight? Illegals in the US?

THE LAST HOUSE ON THE LEFT

US, 2009, 110 minutes, Colour.
Tony Goldwyn, Monica Potter, Garrett Dillahunt, Sarah Paxton, Riki Lindhome, Aaron Paul, Spencer Treat Clark, Martha Mac Isaac.
Directed by Denis Iliadis.

The question is 'how much is too much?'.

In 1972, new director, Wes Craven, made a huge impact with the small-budget horror drama, The Last House on the Left. Heavily cut in some countries, it was banned in others, especially because of a graphic rape sequence. Craven had based his screenplay on the Ingmar Bergman classic, The Virgin Spring. Audiences and censors were not used to this kind of overt treatment of violence, especially sexual violence. The Texas Chainsaw Massacre was to follow in 1974 and the 1970s and 1980s saw what the Festival of Light and others labelled 'video nasties'. Craven's intention was to portray the violence as repugnant and to set it in a 'realistic' context that audiences could identify with, not as participating in the violence but to empathise with the victim and be repelled by it.

Craven certainly raised an issue that is still with us despite the almost forty years of more open depictions of violence.

It is the case with this modern version of The Last House on the Left which has Craven as one of its producers. The budget is bigger. The cast is better known. The technical craft is far more polished than in the original. Greek director, Dennis Iliadis, has a flair for the dramatic and melodramatic.

The basic plot is the same: a young woman is raped by a ruthless escaped criminal and her parents wreak vengeance on him and his gang. And, the question is still the same, how much is too much? The rape sequence is not entirely unfamiliar from similar films and the same with the vengeance.

It is clear that what one brings to a film is what one gets out of it. Perverse prurience concerning sexuality or violence will be satisfied no matter what. Sensitivity may find the depiction too much. This time the film-makers have offered the violence in a realistic context (except for the final sequence of vengeance which seems too much, almost a bad violence joke or spoof), especially the graphic rape, and most audiences would accept this without liking it or even finding it watchable. This is what would happen in a similar real life situation and this is how people feel and react. However, from the opening with the escape of the criminal from police custody and the brutal slaying of the police, there is the creation of a sadistic atmosphere which carries over to the rest of the film which raises a suspicion that the makers are playing on this sadism unhealthily despite their reasonable intentions about realism. This is a first view reaction to the film. A closer study of it might confirm this or indicate that it was a suspicion that the film does not support. But, who is going to see the film for a second time?

1.The status of Wes Craven’s 1972 film? The comment in its day? Too violent for the times? Censored and cut in many countries? A film about violence in the 70s – a fable about violence or anti-violence?

2.The derivation of the original film from Ingmar Bergman’s The Virgin Spring? The parents, the rape of an innocent, vengeance on the perpetrators? Transferred to the United States? Given a reinterpreted modernisation in 2009?

3.The issue of how much violence should be shown? The effect on the audience? Too sadistic or brutal and its effect? Depending on what the audience brings to the film? A relishing of violence or a revulsion towards violence? In the case of this film?

4.The opening sequence setting the tone: the police in the van, telling the sex jokes? Enjoying the jokes? The prisoner in the back? At the level crossing? The sudden crash, the shooting of one policeman, the brutal murdering of the other? Showing him the photo of his children? The prisoner being released, his relationship with his brother, the girl? The newspaper reports – and their being on the run? The tone for the rest of the film?

5.The transition to the family? The mother and her ending her work, going on holidays, packing up? Her husband and his work in the hospital, surgery, his manner? Mari and her getting ready for the holidays? Her swimming, her ambitions, competitiveness, her mother timing her? Telling her to relax? The car ride, Mari telling her mother to relax? The father asleep? The turnoff, the ironic notice of the lake at the end of the road? Going to their house? The story of the brother and their assuming that he trashed the house – but it being clean, the gift of the champagne? Mari asking to stay in the guesthouse? Setting themselves up for the holiday? Mari and her phone call, wanting to visit Paige?

6.The parents and their reaction? The background of the death of their son? Her mother being cautious, wanting phone calls? The father more permissive, giving the money? The phone calls, their having to trust their daughter, age seventeen?

7.Mari, going to visit Paige, their friendship, Paige embarrassed about not communicating about the brother’s death? Justin in the shop, Paige flirting, his asking for cigarettes, offering pot? Paige accepting, Mari going along? At the motel, smoking, talking? Their trying the makeover, the shirt and his hair? The sudden arrival of the trio? Their negative reaction? The irony that Justin was getting rid of the money taken from the dead policeman? Son of the released criminal?

8.The situation in the motel, the menace to the two girls? Paige and her fears, the brutality, trying to escape through the bathroom, her being brought back to the room? Their being taken off in the car, the threats? Mari and her giving advice about the turnoffs? Her using the cigarette lighter to burn the woman? The crashing of the car?

9.In the woods, the brutal actions? The character of Krug, his appearance, no explanation of his crime? Brutality yet suave manner? With Sadie, her ambiguous reactions to people, sexually? Francis and his being Krug’s brother, a leering type? Justin and his sitting aside?

10.The attack on Paige, brutal, her being stabbed? After her trying to escape, the pursuit and her being brought back, her desperation?

11.Mari, sexuality, his father urging Justin? Justin’s refusal? Krug’s brutally raping Mari? How was this scene handled, in brutal realism? Sadistic, prurient or not? The effect on the audience? The aftermath for Mari?

12.Mari and her ingenuity, talking about swimming, her escape, hiding, getting into the water, swimming fast, Krug shooting her? The blood, her floating, going to the buoy? Her crawling back to the house?

13.The gang, the car and its being a wreck? The injuries, Francis and his broken nose? Their looking for a house, finding the Collingwood home? John and his fixing Francis’ nose, the stitches, the power going out, the generator? Emma and her hospitality? The invitation for them to stay? The puzzle about why they were in the woods? Krug and his plausible stories about his father and fishing? Justin going to the bathroom, seeing the photo of Mari, realising what had happened? His decision to put her medal around the mug to be discovered by Emma?

14.The night, the three going over to the guesthouse, Emma settling them in? Their restlessness?

15.The banging, the discovery of Mari? Her father helping her, the bullet, cauterising the wound? The plan to take her to the hospital? Emma discovering the medal and their realisation of the truth?

16.Francis, coming over to the house, coming on to Emma? Her handling the situation, removing the photo? The drink? The knives, the talk? His seeing Mari, realising the truth? Emma’s attack on him, John’s attack? In the sink, losing his finger, the axe? His death?

17.The decision to go by boat, the frantic searching everywhere for the keys? Their going back to the guesthouse? Seeing Justin, his giving John the gun? His helping them? The shooting of Sadie? Her fleeing to the bathroom? The attack, her death?

18.Emma and Justin, their concern about Mari? With her in the boatshed?

19.The confrontation between Krug and John? The cat-and-mouse aspects, the suspense, in the house? Krug tricking John with the window? The fights, falling over the banister? Krug dominating John? Justin coming in, his father spurning him, stabbing him? The attack on Krug, Emma hitting him? His seemingly being dead?

20.The finale, taking Mari to the hospital, taking Justin?

21.The seeming settlement of the situation? Discovering Krug in the boatshed, the incisions and John paralysing him, putting his head in the microwave? The effect of this scene, in itself, for the film? Too much or not?

22.The cumulative effect of the experience? The realism and audiences wondering what they would do in such a situation? Similar behaviour? The visual treatment of the sadism, the rape, the revenge? The final sequence?

DOGHOUSE

UK, 2009, 89 minutes, Colour.
Danny Dyer, Stephen Graham, Noel Clarke, Christina Cole, Lee Ingleby, Keith- Lee Castle, Emile Mawa.
Directed by Jake West.

The makers of Doghouse may well have hoped that their comic horror thriller could become something of a cult film. It might. When compared with Lesbian Vampire Killers (and there are some plot similarities), there is no comparison - Doghouse wins completely.

While the basic plot is in no way original (one suspects that the makers saw Edgar Wright's Shawn of the Dead and Hot Fuzz and wondered how they could combine the basic ideas – which they have: mayhem in an isolated village and the living dead), there are all kinds of ingredients.

There is the government experimentation for military purposes (the virus attacks all women who then kill all the men). Serious but parody. There is the unPC talk by Danny Dyer (satirising many Danny Dyer roles) and the chauvenism ('neanderthal misogynist' as a friend describes him) that climaxes the film with the women having the last laugh. Comic but parody. There is the ordinariness of the blokes who go off for a weekend in the country to support their friend who is being divorced (and the marriage and friendship messes they themselves are making). The situation is initially credible... what would you do if the quiet village came alive with the living dead? There is the reference to fanboys, their comics, the nerdish encyclopedic knowledge of comic-book and movie detail and trivia. That's some homage to The Evil Dead.

Partly funny, partly blokish, partly helpful and unhelpful responses to desperate situations – and some touches of corny horror.

1.A blend of horror, comedy, parody? How well did the combination work?

2.The London locations and introductions to each of the characters? The travel into the countryside? The village of Moodley? Typical English village? Transformed by the Living Dead? The action taking place over the one day? The musical score and atmosphere?

3.The introduction to the central characters, their lives, their relationships with women? Each of them being condemned by women – and Graham by his boyfriend? The build-up to their going on a day out with Vince?

4.The attitude towards women? Politically incorrect? How much tongue-in-cheek? How much real? Vince and his divorce, being miserable? Neil and his misogynist Neanderthal (to quote the others) attitude and behaviour? His presumptions? Mikey and his marriage collapsing? Matt and his work in the store? Patrick and his relationship, the anger of his partner? Graham and his partner being angry about not being invited? Banksy and the collapse of his car, arriving late? The fact that all the women had been turned into the Living Dead and not the men? The dialogue and the jokes about women, chauvinist attitudes towards women? The end, the confrontation with the Living Dead? The triumph of the men – or not?

5.The situation, ordinary men, an ordinary outing? Their assembling, having the drink, talk? Candy turning up, with the minibus? Their surprise? Mikey and his plan, going to the village, staying at his grandmother’s house? Setting out? The banter with Candy – and her name? Her standing her ground with Neil?

6.The village, old-fashioned, seemingly deserted? Their disappointment? The bar, the smell – and not seeing the dead body? The appearance of the women, the bride, the buxom woman, the old woman, Julia with glasses…?

7.The situation, the military man, their attacking him, learning the truth? The experiment, gone wrong? Turning the women into zombies? Flesh-eaters? The men not being affected – except that they were all killed, eaten? The officer commanding and his being impaled, his explanation before dying? Sergeant Wright and his joining the group?

8.The comedy variations on the zombie flesh-eaters? The pursuit of the men around the town, the women and their stumbling gait, being confused? The men able to keep them out?

9.The various devices, Patrick going up on the stand, Candy and her chopping it down? Hiding in shops, Matt and the background of his interest in comics (and the beginning with the boy insulting him about The Evil Dead)? His finding the devices in the shop and using them? Neil and his being abducted, tied up by the big woman, chopping off his finger – finger food? His escape? Graham and the woman falling on him? Their helping one another, the walkie-talkies? Moving around the town? Into the church? The discovery of the truth? Matt’s death? Patrick and his fall?

10.The survival of Neil, Vince, Mikey? Banksy and his late arrival, disbelief, his death?

11.The van, getting away, Graham surviving, their return? The dolphin mechanism with the sound? Playing with it, on and off, breaking it, the women pursuing them?

12.The homage to The Evil Dead? To The Zombie Flesh-Eaters? The subtexts woven throughout the film in serious terms, comic terms? The use of horror conventions? How well woven together to give an acceptable comedy horror film?

THE HANGOVER

US, 2009, 100 minutes, Colour.
Bradley Cooper, Ed Helms, Zac Galifianakis, Justin Bartha, Heather Graham, Jeffrey Tambor.
Directed by Todd Phillips.

The title probably indicates whether you want to see this film or not. It promises to deal with drinking, the after-effects – and not everyone finds jokes about drunkenness funny. This is compounded by the fact that the hangover follows a raucous, very raucous, bachelor party in Las Vegas.

The Hangover presents a few challenges to the reviewer. On the one hand, the four central characters indulge in the American tradition of the bachelor party and its letting down of all guards and they show an alarming immaturity in their behaviour with the screenplay wanting to let them off as much as possible. Many crass sequences and, especially, language.

On the other hand, it is often funnier than one might expect. In fact, despite their crassness, the four men are more sympathetic than usual (and we don't see many details of their wild behaviour until a series of photos during the final credits). And, in fact, the crassness is not as crass as it usually is in this kind of film (like the 1980s Bachelor Party or Todd Phillips' buddy film, Old School). One could say that there is a pleasanter context for the crassness which lightens it and highlights the humour rather than the vulgarity.

The plot has some mad twists and turns, including a tiger in the bathroom (with the tiger belonging to Mike Tyson who makes a cameo appearance), a baby in the refrigerator and a naked Chinese gangster in the boot of a car.

Justin Bartha is the bridegroom who spends a lot of the film missing. His searching buddies include Bradley Cooper as the leader of the troop, Ed Helms as a straight-laced dentist with a harridan of a girlfriend who controls him and is always ringing up – and who has an extraordinary suppressed sub-conscious which breaks out at a wedding chapel with Heather Graham – and stand-up comedian Zach Galifianakis, who initially seems so crass but whose dumbness leads to quite some humour and even likeableness.

Not a must see but, for those who enjoy some broad humour, better than might have been expected. The Hangover 2 is in preparation!

1.The impact of the raucous comedy? American style?

2.The background of the bachelor party, men behaving badly, drink, sex, the letting down of inhibitions, messing up, immaturity and behaving like boys?

3.The impact of the humour, on drinks, on drugs, on sex, on partying, gangsters, weddings, tigers and babies?

4.The characters crass but more sympathetic, getting more likeable, the context for the humour?

5.The background of the LA wealthy family, the Las Vegas atmosphere, the casinos, the suites, the wedding chapel, police precincts, school, the desert? The musical score?

6.The set-up: Doug, engaged to Tracy, the preparations for the marriage, imminent, the bachelor party, Sid giving Doug the car, picking up his friends? The phone call from Phil that Doug was missing? Tracy and her panic?

7.The flashbacks, the introduction to Phil, the teacher, with the kids, taking the money? Stu and his girlfriend, her tough attitudes towards him, demanding, saying he was a doctor but that he was actually a dentist? Alan, the brother of Tracy, Sid as his father? Slow, trying the suits, jockstrap, banned from being near schools, suspicious, his comments, dumb and naïve?

8.On the road to Las Vegas, speed, irresponsibility, jokes? The suite, paying the extra money? Stu and his phone calls? Al and his old clothes? His studying the books on gambling? Going to the roof, the toast?

9.Moving immediately to the aftermath, the wreckage in the room, no Doug, no memories (and Alan’s later explanation of slipping what he thought was Ecstasy into the drinks but really was Rufalin? The search, looking for evidence, retracing their steps, finding the tiger in the bathroom and the jokes about the tiger, the baby in the refrigerator? Their being given the police car? Using it? Going to the hospital, paying the doctor, his rough answers to them? The information about the casinos, winning eighty thousand dollars? The wedding chapel, the discussions with the manager and his assistant? Tracking down Jade? Her baby? The Chinese in the boot, the gangsters? The confrontations and escape? The arrest, talking with the police, agreeing to go to the classes, their being hit by the stun gun – and Alan hit by the boy that he had been rude to earlier? The naked Chinese? Later his turning up with his gangsters? The money in the purse? Working out where Doug was, going to the roof? The wrong Doug in exchange for the money? Going to the casino, getting more money, going to the roof?

10.Phil and his control, Stu and his letting his hair down, marrying Jade? The souvenirs of the chapel? Alan and his getting more money?

11.The phone calls to Tracy, changing the tuxedos on the way home, the return, the wedding, and Doug promising to be faithful?

12.The final credits, their looking at the photos, the glimpses of the bachelor party night? The appeal of the film – with the broad vulgar humour?

O’HORTEN

Norway, 2007, 90 minutes, Colour.
Baard Owe.
Directed by Bent Hamer.

Watching O' Horten is quite an agreeable experience. We are taken to Sweden in the winter season – and the autumn of the life of rail engineer and train driver, Odd Horten. In fact, the film is really a warm portrait of this man as he comes to the end of his career on the trains and begins his retirement. Baard Owe looks and acts the part perfectly.

The film is really a series of episodes which are not really essential to the narrative drive of the film. Each is, in its own way, entertaining, fragments of this portrait of Odd. A silent and retiring man, we see him driving the train, a trbitute from his fellow-workers, being unable to get into a building for further celebration and going up the fire escape and through an apartment only to find a little boy who shows him his toys and wants him to stay until he goes to sleep. The Odd nods off and has to surreptitiously get out of the apartment. It's that kind of film.

He goes to a bar regularly for a drink, meets the widow of his tobacconist, meets a man (via some funny sequences of his visiting an airport and being detained) who wants to buy his boat. A kind man, he picks up a man lying in the street and takes him home where he learns he has been a diplomat in Africa and has a wilder younger brother, an inventor. He also claims the gift of being able to drive a car blindfolded and yet see. This has an unexpected consequence and leads to the end of the film with Odd going to see his landlady and really settle into retirement.

Bent Hamer's films have been as diverse as Kitchen Stories and the Charles Bukowski story, Factotum, with Matt Dillon. He has a gently wry sense of humour as well as a sympathetic feel for ordinary people.

1.An enjoyable experience? Details of a way of life in Norway? Portrait of a retiring man? The overall effect? Humour, empathy, pathos?

2.The Norwegian settings, the city, the railway, the stations, apartments, bars, shops? The airport? Ordinary places for ordinary activities? The musical score?

3.The opening, O’ Horten in his train, the credits and the travel through the tunnels and the snow? Creating atmosphere?

4.The portrait of Odd? In the train, his age, appearance? His discussions with his fellow workers? A retiring personality? His last trips? Going to the boarding house, his friendship with the manager? Her discussions with him about his retirement? The party, his awkwardness, the fellow drivers, the speech, the toast, the presentation? His going to get some cigarettes? Being locked out of the house? Climbing up the fire escape, getting into the apartment, the encounter with the little boy, his toys, having to watch until he went to sleep, his nodding off himself, the morning, having to get out the window? The effect on him? The widow of the tobacconist, their discussions and memories? In the bar, by himself, his friendship with the manager, the ups and downs of activities in the bar? The man who was to buy his boat, the phone calls, going to the airport, the funny visuals of him at the airport, on the vehicles, his being detained, searched? The finding of the man in the street, taking him to his home, the discussions and the drink, the man and his artwork, the diplomat in Africa, the fact that he could drive while blindfolded? His stories about his brother? The drive through the night, stopping at the lights, his dying? Odd taking the dog? Going back to the house, encountering the brother, finding that the dead man was schizophrenic? His going back to the station, with the dog? His going back to see the manager of the boarding house? His being ready to settle into retirement? A sympathetic portrait? (Adding the scene where he went to the sauna and saw the couple in the swimming pool?)

5.The other characters: the sketches of the wife of the tobacconist, the little boy, the president of the drivers, the other drivers, the man in the street, his eccentricities, his being schizophrenic, telling the story of his brother, meeting the actual brother? The landlady and the end? The build-up of these ordinary characters helping to illustrate Odd’s life?

6.The overall effect of a portrait of a man in his later sixties, his life and achievement, its ordinariness, his going to see his mother and her loss of memory? His own old age, the possibilities for retirement?

THE RETURN OF BULLDOG DRUMMOND

UK, 1934, 73 minutes, Black and white.
Ralph Richardson, Ann Todd, Joyce Kennedy, Francis L. Sullivan, Claude Alister.
Directed by Walter Summers.

Ralph Richardson was an early Bulldog Drummond. He was younger than he looks – but has an air of authority about him, especially in his vocal delivery. A very young Ann Todd plays his wife. Francis L. Sullivan is the villain. Claude Alister portrays, as so often, Drummond’s friend Algy Longwirth.

The film is about armaments in the 1930s, anticipating the build-up to World War Two. Francis L. Sullivan uses a number of disguises in the film, abducts Drummond’s wife, confronts Drummond and attempts to kill him. However, all is well as Drummond is able to overcome every difficulty. Drummond also leads a group of somewhat vigilante types (not particularly well disguised so that anybody could recognise them), the Black Clan.

The film is one in a series of small-budget Bulldog Drummond films from the novels by Sapper.

1. The popularity of Bulldog Drummond in literature? On film? The variety of series? The actors portraying him? British, stiff upper lip, man of action, beside the law?

2. The production values, black and white photography, inexpensive sets? Musical score?

3. Drummond and his nonchalant attitude? His relationship with the British authorities, the broadcast of the Black Clan, going to sleep at meetings? His contacts? Reliance on Algy? His wife being abducted? His being tricked by Peterson, the paralysing drug? The crash into the water, his escape? His agility, leading the Black Clan, rescuing his wife?

4. Phyllis Drummond, supportive of her husband, abducted, using the birdcalls to indicate where she was, rescued?

5. Carl Peterson and his entourage, his disguises, his plans? Disguised as a clergyman? The meeting with Drummond, arranging the abduction of Phyllis, drugging Drummond? His finally being outwitted? Irma, his associate, her using her wits?

6. Algy, the humour, his coming to the rescue, part of the Black Clan?

7. Charles Latter, the politician, his dubious connections? Victim of the Black Clan? The film’s comment on the more fascist politicians of the time?

8. Films illustrating the styles of the 1930s? For film historians? Film buffs?

BULLDOG DRUMMOND AT BAY

US, 1937, 79 minutes, Black and white.
John Lodge, Dorothy Mackaill, Victor Jory, Claude Alister, Hugh Miller.
Directed by Norman Lee.

Bulldog Drummond at Bay is one of three Bulldog Drummond films of 1937, the only one with actor John Lodge (the others had John Loder and Ray Milland).

The film focuses on armament races, topical in the years prior to World War Two. The villains have Russian names. The film is B-budget, one of a series of films about Bulldog Drummond, from the novels by Sapper.

The film is interesting because of John Lodge, a relative of the Cabot Lodges and politicians. He himself stopped making films after 1940, served in World War Two, was elected to the House of Representatives as a Republican, became governor of Connecticut, later ambassador to Spain.

1.The popularity of Bulldog Drummond in literature? On film? The variety of series? The actors portraying him? British, stiff upper lip, man of action, beside the law?

2.The production values, black and white photography, inexpensive sets? Musical score?

3.The 30s issues of armaments, foreign powers, Russians travelling between the Continent and England? The headquarters in Scotland? Kalinsky and his notoriety, the newspaper headlines? The abduction of the scientist? Gregoroff and his insubordination, killing Kalinsky, stealing the plane?

4.Doris, her visiting Drummond, trying to drug him, his suspicions? Her work with Kalinsky? The irony of her being undercover, the confrontation with Gregoroff, Drummond rescuing her from the burning castle?

5.The presentation of the British authorities, the scientist, the plane, the control of the plane, destruction?

6.Drummond unmarried in this film? The attraction towards Doris?

7.Films illustrating the styles of the 1930s? For film historians? Film buffs?

DOCTOR TERROR’S HOUSE OF HORRORS

UK, 1965, 98 minutes, Colour.
Peter Cushing, Christopher Lee, Max Adrian, Ann Bell, Michael Gough, Neil Mc Callum, Bernard Lee, Roy Castle, Alan Freeman, Peter Madden, Jeremy Kemp, Donald Sutherland, Judy Cornwell, Ursula Howells, Katy Wild, Phoebe Nicholls, Isla Blair, Edward Underdown.
Directed by Freddie Francis.

Doctor Terror’s House of Horrors was the first of the Amicus Company’s portmanteau horror films. It was written by American Milton Sabotsky who contributed a great deal in writing and production to the British film industry from the 1960s. He also wrote The Vault of Terror and Tales from the Crypt for the 1970s.

The film consists of five short stories. The linking theme is a compartment in a train where five people give room to Doctor Schreck, played in fine sinister form by Peter Cushing. They pick tarot cards and he foretells their future – which ends in death. Christopher Lee portrays a snooty art critic who does not want to participate. His story is the eeriest, his criticisms of an artist, played by Michael Gough, leading to the artist having an accident, his hand being severed and pursuing the critic.

The film has a strong cast, the stories are brief enough to be effective, even if, by later standards, a bit predictable. The film was directed by Oscar-winning cinematographer, Freddie Francis.

1.The popularity of the portmanteau English horror films? The different stories? The linking stories? The atmosphere of horror?

2.The train, the compartment, the six men in the compartment, the room for Doctor Schreck? The conversation, the cards falling, their becoming more involved in the tarot cards? Each hearing their own story, their disaster? The final card being that of death for all of them? Finally discovering that they were dead, that Doctor Schreck was in fact Death? The finale with them seeing themselves separated from the other passengers, the headlines about their deaths?

3.The atmosphere for the different stories? The sinister house? The West Indies and voodoo? The house with people trapped by the vine? The ordinary house, hospital, and the setting for a vampire story? The art world for the critic? The musical score?

4.The werewolf story: The agent, his personality, his ancestors, going to the house, meeting the owner, her welcoming him? The maid, the handyman? The sinister aspect of the crypt, the grave, the stories about the werewolves? The past and the hostilities between families? The curse? The empty grave? The werewolf escaped? The terror with the maid getting killed, the handyman sealing the vault, the agent and his going up to the owner, her being the werewolf? Her explanation?

5.The killer vine: The ordinary family, at home, cutting back the vine, its extraordinary growth? The cuts? The consultation with the scientist? His being affected, his being killed by the vine? The consultant, trying to get an explanation? Trying to destroy the vine, its continued growth, surrounding the house, the family trapped within the house?

6.The voodoo story: The musician, getting the time in the West Indies, his playing, hearing the music, deciding to steal it and use it, the confrontation by the West Indians, the introduction to voodoo? His return to England? The voodoo vengeance on him for stealing the music?

7.The vampire story: The doctor, his bride, her dislike of the visiting doctor? His going to work, the boy and his leukaemia, being drained of blood? The older doctor and his insinuating to the young man about his wife, her being a vampire? His building up the tension, explaining that the doctor needed to kill his wife? In the bedroom, the death of his wife? The police arriving, the young doctor defending himself, the older doctor denying any knowledge? The police taking the young man away? The irony of the older doctor being a vampire and not wanting a rival vampire or a rival doctor?

8.The disembodied hand: The art critic, his personality, superiority, disdain? His mocking the work of the artist? The artist present at the exhibition? Their confrontation? The artwork being brought in, the assistant and her asking the question of the critic in front of everybody, revealing that a monkey had painted the painting? The humiliation? His going to give a lecture, people’s reactions? The artist and his being hurt, his confronting the critic, his being run down in the street? In hospital, losing the use of his arm? The critic and his nightmares, the disembodied hand pursuing him? The reality of the hand? Killing the critic?

9.The cumulative effect of this kind of horror story? The plausibility and implausibility? The what if…? and atmosphere?

A HILL IN KOREA

UK, 1956, 80 minutes, Black and white.
George Baker, Harry Andrews, Stanley Baker, Michael Medwin, Ronald Lewis, Stephen Boyd, Victor Maddern, Robert Shaw, Percy Herbert, Michael Caine.
Directed by Julian Amyes.

A Hill in Korea is a small British film of the mid-50s. At a time when the British cinema was making films about World War Two and about life in prisoner-of-war camps, this is a small acknowledgment of a British presence in the Korean War.

However, it is a familiar story of a small group, sent out to reconnoitre, trying to retreat back to base but caught by the Chinese advance.

It is interesting to look at this film in the light of subsequent wars, especially the Vietnam War and the attitudes of western troops towards Asians. There is a lot of racist language in the screenplay, referring to the Chinese as Chinks, making remarks about Chinese culture and lack of it, ignorance of Buddhist traditions, an emphasis on English superiority over all others.

The film is strong in its cast. The main actors were stars of British films at the time. However, Stephen Boyd was on the rise to become a star, as was Robert Shaw. While Michael Caine appears in a brief role, he did not make his mark in films until almost ten years later.

The film is an interesting alternate to the American films on Korea.

1.The impact of the film? A British perspective on the war in Korea?

2.The familiar formula, the small group, reconnoitring, under attack, men being killed, the small group, taking refuge, being rescued? The personalities of the men themselves? Stiff upper lip, collaboration, criticism? The odd man out?

3.The black and white photography, the atmosphere of Korea? The Buddhist temple? The footage of the American planes bombing? Musical score?

4.The mission, to get information, the retreat back to base, the radio not working, Wyatt throwing it away? The dangers, the snipers, the deaths? The effect on morale?

5.The leadership of Butler? A good man, young and inexperienced, putting his mind to the task? The criticism of the men? His work with Sergeant Payne? The leadership, his reaction to Wyatt, his grief at the deaths, the burials? His strategic and tactical decisions?

6.Sergeant Payne, the traditional sergeant-major? Supportive, good advice, shrewdness?

7.The picture of the other men: Ryker and his stammer, his dislike of Wyatt, his death and his confrontation of Wyatt? Docker, the missiles? His associate? Rabin, his memories of London, his talk, the ordinary soldier? Lindopp and Moon, the ordinary men, criticisms? Hodge, his working in London, wanting to be on a farm? His death? Sims, his injury, his death? Lockyer, on the lookout, his support? A familiar group of men?

8.On the ground, the Chinese advance, the music? The shooting? The retreat through the woods? Climbing the hill? The Buddhist temple – and Butler contemplating Buddha and his message? The reaction of the others to the temple? The bombing of the temple by the Americans? The bombing of the Chinese? The group able to make its escape?

9.The film’s comment on the Korean War, on warfare in general?