SAMSON & DELILAH

Australia, 2009, 101 minutes, Colour.
Rowan Mc Namara, Marissa Gibson, Mitjili Gibson, Scott Thornton.
Directed by Warwick Thornton.

A fine film from Australia by an indigenous writer-director and cast that should be seen widely at home and abroad.

Warwick Thornton has found the right pace, tone and empathy to make this a significant story about a young man and a young woman whom many would judge as insignificant.

At the beginning of the film, the same daily routine is emphasised as day-by-day, Samson wakes up, listens to music, sniffs his jar of glue then sits waiting for something to happen. Delilah wakes, rouses her Nana and gives her her tablets, joins her in dot painting, wheels her to the infirmary and to the chapel. They live in a small town-settlement in the Northern Territory bush.

Samson doesn't talk but Rowan Mc Namara makes him an engaging mischievous character who one day kills a kangaroo by chance and proudly carries it past all the houses. But he falls foul of his brother who plays in a little band on the verandah all day. Delilah (Marissa Gibson) is wrongly accused by the aunties of the town of neglecting her Nana and is beaten. Samson and Delilah leave in the communal truck.

This first part of the film shows conditions in the town, some poor and dingy, some mod cons and some music and painting – and a lot of boredom.

The second part of the film takes Samson and Delilah to Alice Springs where the comfortable lifestyle of middle Australia is taken for granted, kerbside cafes, supermarkets, art dealers selling Nana's paintings for $22,000 each. Delilah wanders through a church, gazing at the images, while an eager young priest watches but is not able to say anything.

Samson and Delilah take refuge under a bridge in the dry Todd River bed where they are befriended and fed by a an alcoholic drifter, Gonzo (Scott Thornton) who has a sense of humour and loves singing.

Things go from bad to worse, Samson almost incessantly dependent on glue and petrol fumes. But, the final part of the film does offer hope, especially with the energies, initiatives and care by the woman, by Delilah. Women are the hope for the men.

The leads are naturals and Nana and Gonzo offer telling glimpses of the older generations. The white community is not presented in any complimentary way.

In the last eight years, there have been a number of films about, with and by aboriginal people, some using local language as does this one. One hopes there will be many more and as persuasive as this one.

1.The acclaim for the film, commercial success? At home? Abroad, festivals? The history of Australia’s indigenous people, Aboriginal-themed films in Australia and overseas?

2.The biblical overtones of the title – who helped whom? No betrayal? The image of each of the characters cutting their hair?

3.The Northern Territory landscapes, their beauty, idiosyncratic beauty? The settlement, dusty, poor? Drab? The contrast with Alice Springs? Affluent? The cafes, the shops? The church? The bridge and the bed of the Todd River? Delilah’s country at the end? The natural beauty, trees, rocks, birds, kangaroos?

4.The range of songs, local, Spanish, hymns?

5.The opening, the successive wakenings, the routine day after day? Samson, the music, sniffing the petrol? Delilah, waking her grandmother, the tablets, the painting…?

6.The picture of Samson, his age, background, his brother, learning later of his father in prison and having six months to get out (and Samson’s whoop of joy)? The band on the verandah, Samson wanting to play the guitar in modern style, the clash with his brother, their more traditional music? The later breaking of the guitar? His wandering around the settlement, watching Delilah, the love graffiti on the store wall, Delilah ignoring him, throwing him the packet? Washing, finding the kangaroo, swaggering back holding it? His dance and Delilah watching him? Bringing his bedding, her throwing it away, near the fire? The aunt and her giggling, the prospect of a husband for Delilah? Samson and his wheeling himself around in the wheelchair?

7.Delilah and her grandmother, giving her the tablets, the skill of the painting, the style of dot painting? The grandmother laughing at Delilah and Samson? Delilah wheeling her grandmother, to the infirmary, into the chapel for her to pray? Delilah sitting and waiting? The dealer, the cash for the paintings? Her reaction to Samson, the graffiti, throwing him the packet, watching him dance? Her grandmother’s death and her grief?

8.The two beatings: Samson, with the guitar, his brother bashing him? The women and their beating Delilah, accusing her of neglecting her grandmother? Samson taking the truck and their leaving?

9.On the road, Samson driving, the truck, night, the getting of petrol, abandoning the truck, walking into Alice Springs?

10.Alice Springs, the people, the supermarket and the checkout, the girl wishing a nice day, the paintings and Delilah not able to sell any, her anger and throwing the black painting at the café tourists? The dealer and the high charges for her grandmother’s art?

11.The bridge, under the bridge in the Todd River, sitting, sleeping? Samson and the petrol-sniffing, constantly? Meeting Gonzo, a character, talking, offering them food, his songs, improvising? Wanting them to speak? Samson’s only word with his name – and his stammer? Delilah wandering, going into the church, looking at the art, the priest eager but not saying anything? Delilah being abducted by the young men, their brutality, her injuries? Samson not being aware of her being taken from behind him? Sniffing the petrol, Delilah’s taking up the petrol? The accident and her going to hospital?

12.Samson getting worse, Gonzo going to rehabilitation and three meals? Delilah’s return, her injured leg?

13.Delilah and her decision, packing up, coming home? The brother coming to get them? Her car, getting the wheelchair, the food, going to her own home in her own country, caring for Samson, setting him up, washing him? The wheelchair, the windmill and her getting it going?

14.Some hope for the future, the women and their being the hope for the men?

15.The impact for Australian audiences, Aboriginal conditions, white consciousness about Aboriginal issues and their dignity? The physical, material and social needs?

JAFFA

Israel, 2009, 109 minutes, Colour.
Dana Ivgy, Mony Moshanov, Mahmoud Chalabi, Ronit Elkabetz, Roy Assaf.
Directed by Keren Yedaya.

Set in the Israeli old port of Jaffa, this is familiar material, almost soap-opera stories, dramatised in a conventional way.

The family at the centre runs a prosperous garage repairing cars. The older son is arrogant and lazy. The receptionist daughter is pregnant – to the reliable mechanic who happens to be Arab. When the son is killed in a fight he has provoked, everything changes – much as one might have foreseen.

The Israeli settings and the glimpses of loathing for Arabs distinguish it from similar films.

1.An Israeli production, drama, familiar material, anything special?

2.Jaffa, the view during the credits? The streets and homes, the garage, the score?

3.The family, their background story, the focus on Mali? The garage at work, the bonds between the workers, death, grief, the issue of abortion, the single-parent child? The father in prison?

4.The glimpse of the Palestinians in Jaffa, the bigotry by the Israelis against the Arabs? The Arabs being accepted in the workplace?

5.The garage, Hassan and Tawfik, the thoroughness of their work? Meir and his tantrums, arrogant and lazy, his dealing with the clients, walking out, causing his father a financial loss?

6.The family at home, the tensions at the meal, Meir and his insults to his mother, her wanting him to get out? Mali and the phone call to him inviting him back, his spending the night at the garage after getting drunk, sick, his throwing his weight around, getting Hassan to treat a new client, the confrontation with Tawfik, the fight, Tawfik pushing Meir and his hitting his head?

7.The injury, the ambulance, the police, Meir to hospital, his death? The family hurrying to hospital? Their grief – yet his mother wanting him to get out of the house? Their blaming Tawfik – and their anti-Arab prejudice?

8.Mali, her relationship with Tawfik, love, the plan to leave the country, his getting the documents, her packing, the cases under the bed in the garage, the fight, Tawfik arrested and imprisoned?

9.Mali, her perplexity, getting rid of the cases, the wedding dress? Going to the abortion clinic, getting the permit? Her not telling her parents, pretending it was stomach upset? Her decision not to go for the abortion? Giving birth, the lies about the father?

10.Tawfik and the years in prison, early release, the family to meet him, his phoning Mali?

11.The family, the memorial for Meir, Psalm 119, their reaction to Tawfik getting out?

12.Mali, the phone calls, not wanting to talk with Tawfik, planning to meet him, her returning home, eventually telling him the truth?

13.Her decision to leave, the letter to her parents, going to her aunt with her daughter, the showdown with her parents, their anger, disowning her?

14.The little girl, her situation, love for her mother, staying with her aunt, discovering her father?

15.The final beach scene, Tawfik sitting and watching, the future?

16.The human drama – with the touch of soap opera material and treatment?

UN PROPHETE

France, 2009, 149 minutes, Colour.
Tahar Rahim, Niels Arestrup.
Directed by Jacques Audiard.

He's not that kind of prophet. Some Marseilles criminals declare him a prophet when he calls out that there are animals on the highway before their car strikes a deer. But, a prophet as proclaiming God's message, no way. Rather, he is a thorough example of an Italian Renaissance prince as described by Macchiavelli.

For Malik el Djebena it was not always thus!

In Jacques Audiard's bold, graphic and intriguing film, Malik is 19, an orphan who has grown up in juvenile centres and has been arrested for attacking police.

We enter, as an audience does in the tradition of prison films, with Malik, the examination and search, the prison garb, the cell... Once he has been supervised, he is settled into his own cell. We sea meals, showers, the yard and an immediate attack on Malik for his sneakers and to show him who is boss.

What follows is the saga of Malik's life and growth in prison – and the film runs for two and a half hours – and he takes the first of different and unforeseen turns.

He is cajoled by Cesar, the kingpin of prisoners, head of the Corsican contingent in jail, a strong force who have an antipathy towards the increasing number of Arabs into killing another prisoner or Cesar will have Malik killed. Initially reluctant, he does slash the victim's throat. Then, in a stylistic flourish, along with the visualising of Malik's dreams, the man's ghost appears to Malik periodically, warning him, a counselling presence.

This is the tale of an illiterate youth who uses his wits to learn at prison classes, including economics, who serves the Corsicans but is always listening, finds himself trusted by Cesar to do jobs for him on his day releases but who uses the opportunity to set up his own hash smuggling enterprise, does deals with various rival gangs and finally manipulates crises (and a massacre) that leaves him on top of the world. Can it last? (In fact, a sequel would be interesting.)

Audiard has made some striking and stylish dramas (Sur Mes Levres, The Beat My Heart Skipped). Tahar Rahim as Malik, from young to confident adult, changes physically and psychologically (and immorally) before our eyes. Niels Arestrup as Cesar is a powerful foil to Rahim.

A brutal but effective depiction of the world of crime.

1.The title, the traditional meaning of prophet, the use of the term with the sighting of the deer? Islam and the prophet?

2.The traditions and conventions of prison films? This film’s use of those traditions, offering something more, psychological drama?

3.The interiors of the prison, Malik’s arrival, the inspection, clothing, the cell, the yard, the room, solitary, the showers, meals, offices, schoolroom? Realistic?

4.The contrast with the outside: Paris, the cars, streets, the plane, Marseille, the countryside, homes? The differences for Malik? The musical score? The use of Mack the Knife?

5.The film showing Malik from nineteen to his mid-twenties, an ignorant youth to becoming a crime boss? How convincing was this journey?

6.Malik at nineteen, coming into prison, his scars on his face, the long hair, the handcuffs, being searched, alone, surveyed by the authorities, given his own room, settling in, in the yard, the sneakers and his bashing, work, sewing, learning skills, learning to read, economics, in the shower, the approach by Reyban, the set-up from Cesar, the hold Cesar had over Malik, to kill Reyban or be killed? His reaction, trying to get the guards involved, Cesar’s men bashing him?

7.The Corsicans in prison, as a group, their own language, Cesar as the overall boss, walking around with his entourage, his links with the guards, his control, freedom? The group anti-Arab? The growing number of Arabs? Picking Malik to be the killer? Cesare giving him the commission, the result, Cesar protecting him, Malik becoming the servant?

8.Malik, the razor blade and training himself to have it in his mouth, the blood? The set-up with Reyban, in his cell, talking, Malek’s reaction, suddenly deciding to kill him? The blood, washing his shirt? The presence of Reyban in the later part of the film, haunting Malek? His counselling, wisdom, a ghostly presence? Malik admitting to the criminals in Marseille that he had killed Reyban?

9.Malik and the passing of the years, growing physically older, short hair, longer hair, moustache, looking normal, growing up, standing up straight? The contracts? With the Corsicans? The school, Ryan and his advice? The economics?

10.The day leave passes, Malik doing his own deals, Ryan and the help, the hash, the plans, the contacts, the movement of the drugs, distributing them? Yet doing his work for Cesar? His being picked up, the cars, delivering cases, getting the battered man? Going to Marseilles, his enjoyment of the plane ride, his dealing with the boss in Marseilles, the drive into the countryside, the hitting of the deer, paddling in the beach, the information for the deal? His own deal with Marseilles about the Egyptian who was muscling in on his trade?

11.The Egyptian, his contact in the prison, the photograph of his mother and the threats?

12.The release of the Corsicans, their going back home, Cesar alone? Malik still his servant? His explanation to Cesar of why he remained as a servant? Going to Marseilles? Discovering the spy in the prison? The commission to kill the bosses in Paris?

13.Ryan and his cancer, the chemotherapy, his child, his wife? Ryan and the visit, Cesar muscling in, the pressure on the plan, the unreliability of Ryan’s men? The decision for Malik and Ryan to do it on his day leave, the plan, following the criminals, their picking up an envelope, driving away, the plan going awry, parking, Malik shooting? His being deafened by the bullets? His return, his being late, put in solitary?

14.The mayhem with the massacre in the prison – and Malik running laps in the solitary and being protected?

15.Cesar, his calling Malik over, Malik staying with the Arabs, the Arabs punching Cesar and humiliating him?

16.Malik getting out, Ryan dying, the wife and the child meeting him, the cars following him – to what purpose?

17.The change of a simple man to a Machiavellian boss? A safe future for him, profitable or not?

MOTHER

Korea, 2009, 129 minutes, Colour.
Kim Hye- Ja, Won Bin.
Directed by Bong Joon- Ho.

When the Koreans go for broke in horror and/or absurd scenarios, they make films like Mother (and this director's The Host).

Mother, who shows she is quaintly peculiar (at least) dancing in a vast field during the opening credits, is ultra-protective of her mentally impaired son. After he is injured in a hit-run incident and, with his friend, follows the car to the exclusive golf course for revenge, he is accused of the murder of a promiscuous student, arrested and imprisoned. Mother cannot believe it and goes on a crusade and some detective work herself, turning up evidence and information about extra elements of abuse and violence. Some of this information has a powerful effect on her for the worst.

Mother takes its place among a continually increasing number of crime/absurdist/horror touches Korean films.

1.The work of the director? The blend of the absurd, horror, comic? How well did they combine here?

2.The settings: the open and vast fields, the town, the countryside? The interiors in the town, homes, the streets, the police precincts, prison? The musical score?

3.An authentic feel? Yet the exaggerated, melodramatic and comic touches?

4.The mother, central, her behaviour at the opening, dancing in the field? Her protection of her son, cooking at home, seeing the hit-run accident, her upset? His friends? The arrest? Her protesting her son’s innocence? Her concern, the friend, with the golf club, seeing him with the girl? With the court, the lawyer, the damages for the wealthy men insulted and hurt at the golf club? Her further investigations about the crime, about the young girl, about her mobile phone and the photos, the young boys and the interrogation? Her getting further information, the grandmother? Getting the phone? Taking the phone to her son, identifying the old man? His having sold her an umbrella, going to see him in his junkyard house, the explanation, the guilt of her son? Her setting the house on fire? Leaving her acupuncture needles? Her son finding them? Her going on the holiday in the bus, not joining in the songs, using the acupuncture needle that erased memories? Her finally dancing – as she did at the beginning?

5.The young man, mentally impaired, with the dog in the street, the hit-run, going with his friend to the golf club, smashing the mirror on the car? Confronting the businessmen and professors? In the court? The need for money, his mother not having it? His wanting to be with a girl? His friend? Going up the steps after the drinking, seeing the young girl? The flashback, her throwing the rock at him, his throwing it back and her death, dragging her upstairs? Letting her hang – and his speculating that the reasons were so that she would be found quickly? In prison, his release, going with his friend to the junkyard, finding his mother’s needles?

6.The friend, going to the golf course, confronting the professors? The damages? His relationship with the girl? His urging the mother to seek the killer?

7.The lieutenant, the sergeant, the crimes chief? Their investigations?

8.The attorney, helping the mother in the court case? The settlement? His interest in the case, his interrogation of the young boys?

9.The mother’s friend, the acupuncture, the photos and her enlarging the photos, her support of the mother?

10.The flashbacks to the girl herself, promiscuous, her school friends? Her death?

11.The combination of crime investigation, comedy, with the horror touches?

KINATAY

Philippines, 2009, 110 minutes, Colour.
Coco Martin, Julia Diaz, Maria Isabel Lopes, Mercedes Cabral.
Directed by Brillante Mendoza.

Kinatay is a Filipino word for slaughter. And that is what happens in the third act of this film, a barbaric torturing and dismembering of an addicted prostitute.

However, the film begins in a bright and breezy way as Peping (Brillante regular, Coco Martin) goes to his wedding ceremony with his bride and extended family while the grandmother looks after the baby. This provides a first act with lots of local colour and street photography that immerses us in daylight Manila. The ceremony is cheerful. The dinner afterwards a happy occasion.

The second act, after we see Peping in the police academy is one of the most tedious van journeys we are likely to experience. We go across Manila in the dark with the crew and the abducted woman. Hard to see, repetitious and long, a point being that it takes quite some time to cross the city.

Then the third act with the brutal slaughter.

Brillante Mendoza has been documenting the underside of Filipino life in Masahista, Tirador, Foster Child, Serbis. This film is only a mixed blessing -with some ugly downside.

1.The work of Brillante Mendoza? Guerrilla film-making? Slices of Filipino life? The ugly side?

2.The title, the literal meaning of slaughter? The third act and its presentation of barbaric slaughter?

3.The life in the Philippines: the first act, Pepping and Cecile hurrying to the wedding, the baby, to the grandmother? In the taxi, in the Jeepnay? Delight, playful, the rings, money and loans? The overview of Manila itself, the streets, traffic, the shops and stalls, the people? The delay with the man wanting to throw himself from the building, the media, the interviews with the mother, her pleading? The police? The wedding itself, the judge, cheerful, everybody happy, the ceremony? The dinner, Leo and his hosting, the godfather? The allusions to his way of life? The photos, the food? Pepping and his taking the money? His going to the police academy, his not paying attention? The instructor and the development of the theme of investigating a crime scene?

4.Investigation of the crime scene: from the outside, going in? Mendoza using this method for the crime of the slaughter, looking at the people and the situation from the outside? Going in?

5.The long ride through Manila, the dark, real time, audiences identifying with Pepping and his tension? Or not? The city at night? The religious signs? The sergeant, the chief, the young men? Pepping and his being a bagman contact for deals? His being invited into this crime? Once into the van, giving his consent?

6.The nightclub, the strippers, the customers? Madonna, the money loans, her child, her aunt and the preparation for the party? Her being abducted, humiliated in the van?

7.Going to the house, buying the duck eggs, Pepping and the opportunity to leave, buying the eggs, going into the bus, coming out again? His going back – and the caption about integrity and it being lost forever?

8.The brutal interrogation of Madonna, the chief, sergeant? The sexual abuse? Her murder, dismemberment? Pepping and his witnessing this? Guarding her? His decision to enter into the cleanup?

9.The disposal of the parts around the city? The media and the people discovering the body parts? The news item about the gang in the city, the police unable to identify them? The irony that it was the police themselves?

10.The overall view of Mendoza on these situations, these people? A pessimistic viewpoint?

POLICE, ADJECTIVE

Romania, 2009, 113 minutes, Colour.
Dragos Bucur, Vlad Ivanov.
Directed by Corneliu Porumboiu.

One needs to take good notice of the title, both words, otherwise some might expect all police whereas the really interesting part is adjective, since the film is concerned with words and language.

While there is a basic, slight plot about police work in Porumboius' home town of Vaslui (the setting for his Camera D'Or winning film about the day Ceacesceu was deposed, 12.08 East of Bucharest,), most of the action (used loosely because much of it is long shots of Cristi, the central character, on surveillance) is in routine police work, checking information, writing reports and discussions with bosses. Cristi becomes convinced that the pot-smoking student he tails, denounced by another student, is not the source of drugs for the group and does not want to arrest him and have him imprisoned on less than solid evidence.

Not heart-stopping or adrenalin-pumping action. No, this is routine work presented objectively, sometimes like an observing documentary, set in ordinary streets with ordinary people, rather than extras, passing by. One feels that this is entirely authentic.

But, one night when Cristi has a late supper and his wife is listening to a popular song on the internet (loudly), he questions the meaning of the lyrics, for example, 'what is a field without the flower?'. He is generally an imagination-free policeman. The discussion moves to the meaning of images and symbols. Cristi doesn't get it but, on going into the bathroom to clean his teeth, he realises 'what is a toothbrush without the toothpaste?'! Another time, he and his wife discuss some spelling and how the Romanian Academy can define the norms for words. Much of the dialogue consists of people correcting others about what they exactly mean when they say something.

The culmination is Cristi's meeting with the boss and his refusal to set up a sting on the unsuspecting student. It is a matter of conscience. The final scene, one long take, plays like a theatre piece with words and silences as the boss asks Cristi to define conscience and then demands a dictionary so that conscience can be looked up, then law, then morality and then police, so that Cristi will understand, if possible, the relationship between morality and law and the necessity of law prevailing over 'conscience'. And that is what we are left with.

An 'arthouse' film that will please those who love language – and precision in language.

1.The film as a police drama, as an essay on language? The two words of the title?

2.The Romanian renaissance, the range of film-makers, their work, their tone?

3.The provincial city, the suburbs, grim, the streets, school, offices, bars? The exteriors and interiors? Realistic, documentary-like?

4.The ordinariness of the setting, the people in the streets, naturalistic? The office, meals, the interviews, talk? The documentary-like effect?

5.The visual style of the film, the long shots, the theatrical style, dialogue and silences?

6.The basic plot: Cristi, surveillance of the student, tailing him, going to the office, writing reports, investigations, checking on details, meetings? His relationship with his co-workers? With the boss? His not being such an important functionary?

7.The importance of language, plain talking yet being misunderstood, people clarifying what others mean? The lyrics of the song and Cristi’s negative reaction? The discussion with his wife? The joke about the toothbrush and the toothpaste? The meaning of words, the spelling of words, the Romanian Academy? The secretary and her sensing sarcasm in Nelu’s comments? The various meanings of words and phrases, people’s reactions? The final resorting to the dictionary? The analysis of words – and their effect on Cristi and his conscience?

8.Cristi, his age, talk of his marriage, the honeymoon in Prague, noticing the different laws on drugs, his wife, listening to the song, his eating his meal, arguing with his wife, the second meal, the discussion of spelling, the academy, her comments on the case, wanting him to change his pullover? A sense of realism?

9.Cristi and his surveillance, patience, work at the desk, discussions with Nelu and going to the meetings, his research and bothering the researchers, Gina as secretary to the boss, the meeting with the boss? Cristi’s character?

10.The issue of conscience, his intuition about the young man and his possible innocence, not wanting him to get seven years of prison on slight evidence? His looking into the case, speculation about Victor, his brother, the young woman, the drugs, the girl’s brother and his visits to Italy? The discussions with Alex and puzzling about his denouncing his friend? His making the report? Not wanting to set up a sting?

11.The arguments with the boss, the boss’s lecture, the analysis of the words of conscience, law, morality, police?

12.The sudden ending of the film, leaving all this meaning for the audience to ponder, for Cristi to draw a conclusion about his behaviour, applying the law, even though he thought it would change, the role of law? The issues of the relationship between conscience, law, a person’s rights, morality?

BRIGHT STAR

Australia/UK, 2009, 120 minutes, Colour.
Abby Cornish, Ben Wishaw, Paul Schneider, Kerry Fox.
Directed by Jane Campion.

John Keats' short 25 year life was not filled with excitement and adventure as those of his two Romantic contemporaries, Byron and Shelley (the two 1987 films about them, The Haunted Summer and Gothic, certainly illustrate this). Nor was he as long-lived and influential like the former generation of Romantics, Coleridge and Wordsworth (whose early career was dramatised in the 2001 Pandaemonium).

This background is by way of introducing Jane Campion's rather quiet and intimate portrait of Keats' last years and his love for and engagement to Fanny Brawne. Apart from a glimpse of Keats' coffin being carried across the Spanish Steps in Rome (where his room can be visited still), everything takes place on Hampstead Hill near the London of 1819, the woods at the back of the house in a pretty spring and a snow-clad winter but, mainly, interiors. Keats was a poet of interiors, of musings.

Which certainly does not make for a slambang action show for the perpetual-texters or the internet surfers. But, it would not be a bad thing for an audience to slow down if it could and simply be with people who lived at a slower pace and had time to feel and reflect. For those who do go, I hope they don't make that instant dash for exits as soon as final credits appear as throughout these credits, Ben Wishaw recites Keats' Ode to a Nightingale.

Texts of poems are used throughout and the title comes from the beginning of a sonnet Keats wrote for Fanny.

Jane Campion's films are varied but they all take on a female perspective. Fanny Brawne and her love for Keats are the principal focus here. Abbie Cornish gives a vigorously romantic performance, embodying the more liberating attitudes and behaviour in an immediate post-Jane Austen era. She is down-to-earth, a creative dressmaker who is attracted to the wispy Keats. He is played by that thinnest of actors, Ben Whishaw, with a melancholy, which Fanny almost drives out of him as he discovers love and affection.

To spark some drama, a great deal of attention is given to Keats' writing partner, Charles Brown (a vigorous performance from Paul Schneider) and Fanny not concealed dislike of and disdain for hm. Kerry Fox (once Campion's An Angel at my Table) plays Fanny's mother.

This is a very refined film, a picture of gentle passion for Keats and passion taking possession of her for Fanny. It is a tribute to the quiet genius of Keats' imagination and love of language.

1.The status of John Keats, the 19th century romantic poetry? His style? The beauty of his poetry and his concentration on the theme of beauty?

2.Audience knowledge of Keats, of his poetry? The film providing a portrait?

3.Jane Campion, her work, sensibilities, the female perspective?

4.Hampstead, 1819, the house, the woods, the seasons? The musical score?

5.The portrait as an intimate one of Fanny and Keats? The family, the household, Brown and his presence? The background of the Dilks, of the poets and writers of the time, reviews?

6.Keats dying at twenty-five, his sense of failure, not having a livelihood, unable to marry Fanny? His illness and exile? The pathos of his death?

7.The poetry, throughout the film, the quotations, the recitation, by Fanny, by Keats? The final credits and the Ode to a Nightingale? The discussions about poetry, Keats’ lesson about the experience of poetry, like diving into a pool without analysing it, feeling it?

8.The focus on Fanny, the title, his sonnet to her? Her reciting it at the end?

9.His writing, inspiration? Keats and his work with Brown? Musing, the love of language, the imagery? Brown and the process of writing? Publication, the Endymion not selling? The poems not selling, his gift to the family?

10.Fanny as a person, her age, strong personality? The opening and her sewing, the sewing motif throughout the film? Her skills? Bright, antagonistic towards Brown, wanting wit, the critique of Brown? Her being hurt, not speaking to him, her bluntness, her admiration of Keats? Her place in the family, her love for her mother, for Toots, for Samuel? Getting them to buy Endymion, her liking the first line: A thing of beauty is a joy forever?

11.Keats, small, consumptive? Seeing him write, his French with Brown? His care for his sick brother, the family visiting him, his fever, his death? Keats’s own frailty?

12.The time together with Fanny, the bonds between them, her love and passion, being with him for the lesson, Brown’s interruptions? The discussion about fashion and sewing? Giving the pillow slip for his brother? Their walking in the woods, talking, the drawing near the bed, knocking on the walls? Romantic and chaste? Walking in the woods with her brother and sister, the kissing, the tableau as Toots turned round?

13.Fanny and her sensitivity, Brown as protective of Keats? Their going to the Isle of Wight, Fanny’s five days in bed, her waiting for the letters, her tantrums?

14.The illness, Keats wet in the night coming from London, the doctor, the decision that he should go to Italy, the discussion amongst the friends, Brown and his not going, his confessing his failure and shouting it to Fanny? Seven going with Keats? The farewell to Fanny, their imagining what their life might have been? The quiet farewell?

15.Brown in himself, his being a secondary writer? Protecting Keats, insulting Fanny, intruding, the joke of the Valentine’s Day card and her being upset? Attacking Keats? Taking Keats to the Isle of Wight? His attraction towards Abigail, her pregnancy, birth? Abigail as the servant, her reaction to Brown, happiness at the end with the child?

16.Fanny’s mother, wise, her relationship with her children, sewing, encouraging the arts – the dancing class, Samuel and the violin? Comforting Fanny, the prudent aspect of engagement with Keats having no income? Her strong support?

17.Toots, a lively girl, playing, liking Keats, gathering flowers? Samuel, his following, as a chaperon, playing the violin?

18.The neighbours, their concern about Keats?

19.A poetic world of quiet, tranquillity, on the outskirts of a city, communing with nature, the lack of pressures?

20.A portrait of characters, of poetry, of a romantic love? The early 19th century in England, society, arts, poetry?

CENDRES ET SANG (ASHES AND BLOOD)

France, 2009, 105 minutes, Colour.
Ronit Elkabetz, Abraham Belaga.
Directed by Fanny Ardant.

A striking opening in black and white showing a father and three children at the beach. Then a shooting and red blood oozing on the path. Though there is little blood shown in the rest of the film, blood is, indeed, the theme, passionate blood and a drama of blood feuds.

Most of the film is set in Romania, filmed in Transylvania, its old mansions and churches, and the open fields and forests.

The mother of the three children, now grown up, return to Romania for a family wedding. She hopes that not only will it be a happy occasion and an opportunity for the children to discover their roots and their family history, but an occasion for herself to be reconciled with the family.

This seems to be happening. However, there are secrets and lies, old feuds that rankle and burst out destructively so that hate dominates and leads to tragedy. While the audience might not always follow too well who belongs to which family (though the cast in the final credits is presented according to the three family trees), the drama is intriguing and colourfully – and intensely - presented.

This the first is the first to be directed by one of the leading actresses of French cinema for many decades, Fanny Ardant.

1.The impact of the drama, melodrama, the portrait of a family, family feuds?

2.The opening, the father with his children, black and white photography, the confrontation with the hit men, the shooting, the red blood on the path?

3.Marseilles, the apartment, mother and children, the two sons, Mira, the landlady and her complaints and insults, the smashed window, the mother fixing the window? The revelation of the characters of each through these incidents?

4.The invitation to go to Romania, the mother’s motivations for going?

5.The Transylvania locations, the mansions, the church, the fields, the forests, the animals? The musical score?

6.The family, adjusting to Transylvania, the three families and their history, the issue of land and possessions, the flashback to the story of the twins, the dead man, dragging his body, to the wrong land? Louppos telling the story? The influence on his life?

7.Judit’s family, the matriarch, the preparation for the marriage, Judit and her being cut off, her father arranging for her husband to be killed? Judit’s exile, her defiance, the cousins, the meetings and the discussions, shared experiences?

8.The Polyglades family, the husband-to-be, the preparation for the wedding, the patriarch? The twins, their grudges against the rival family?

9.The Drins, their land, Judit’s abandoned husband, memories, meeting him?

10.The wedding sequence, the joy, the reconciliation, the feast, the dancing? The religious ceremony?

11.The men, their meeting, the clashes, the bows and arrows, the fights?

12.Mia, her deafness, her playing chess with the patriarch? A good woman? Her mother wanting the water? Her going into the house, her being accosted, her being attacked?

13.Louppos, his vengeance, fighting, causing the death of the twin? Judit’s son, his defending his sister, hitting the twin, his collapsing and hitting his head, his death? The mother’s grief at her daughter’s death?

14.The laws of the feud, the son having to go to the family, the table set, the men and women sitting, all in black, the son and his accepting his responsibility? Louppos appearing, his confession that it was his hatred that caused the situation, his lie? The mother and her being witness?

15.The patriarch, asking the advice of his wife? The forgiveness? The film as a critique of the old ways of family feuds?

INGLOURIOUS BASTERDS

US, 2009, 155 minutes, Colour.
Brad Pitt, Melanie Laurent, Christoph Waltz, Daniel Bruehl, Til Schweiger, Eli Roth, Michael Fassbender, Diane Kruger, Julia Dreyfus, Mike Myers, Rod Taylor.
Directed by Quentin Tarantino.

After the Grindhouse-indulgent Death Proof, where could Quentin Tarantino go to reclaim his status of the 1990s, of Reservoir Dogs, Pulp Fiction and Jackie Brown? It seems he went back to a screenplay he had been working on for years, adding, developing, laying aside but, now, picking it up again and really going with it. It is a striking film in many ways and is reassuring to hear well-written and articulate and serious Tarantino lines, something that he used to do so cleverly (not that he doesn't indulge himself at times with rip-offs of his former writing, especially in the mouth of Brad Pitt).

Is it like a Tarantino film? Yes and no. At times, there is a wildness about it, especially in the scenes with Brad Pitt as Aldo Rainie with his inglourious basterds (taken from the title of Enzo G. Castellari's 1978 war movie). There are several moments of quiet violence and scalpings that are quite disturbing. But, nothing really to compare with Kill Bill. That will make some audiences relax and coax others to venture to see it.

The structure is five chapters – which eventually come together very well. The first opens with 'Once Upon a Time... in Nazi Occupied France'. So, it is a fable of World War II, invented, with a climax that is post-hoc wishful thinking but no less exhilarating for that. This is how Tarantino might have won the war had he been around at the time!

The first chapter is extremely well done as an introduction: huge widescreen vistas of France, the Nazis arriving at a dairy farm in search of a Jewish family, polite talk between Colonel Lando, nicknamed the Jew Hunter, and the farmer, clever use of French and English and then disaster for the family. It is a fine World War II short story in itself.

By way of contrast, chapter 2 introduces the Basterds, some back stories, explanation of what this group of Jewish bandits for what became the OSS were doing in terms of destroying Nazis – which, ruggedly and brutally, they do.

When we are thinking how brutal this is, we are introduced to Hitler himself doing a rant that far outdoes the Basterds. So, the scene is set (with Tarantino not afraid to have an actor play Hitler (quite effectively) and Goebbels as well).

We are then in for a surprise: cinema in occupied Paris, giving the director more than a chance to show posters, have discussions about cinema (which is then added to by the recruiting of a British film critic (Michael Fassbender) by a general (Mike Myers) in the presence of Churchill (Rod Taylor) to go undercover in Paris). In Paris itself we see a young German soldier, played very persuasively by Daniel Bruhl, who befriends the young owner of the cinema (Melanie Laurent, also persuasive). Bruhl's soldier, says Tarantino, is somewhat modeled on Audie Murphy, this time a young heroic German soldier who stars in the film about his exploits, the multiple American deaths entertaining Hitler no end.

The build-up is for Operation Kino, the blowing up of the cinema with the German High Command inside. Did it happen? Does it happen? Could it have happened? That's not for a reviewer to say!

The film is spoken in English, French and German (and some bad Italian accent on purpose from Brad Pitt) with more than half the film sub-titled (which will be an interesting challenge for US marketing). A number of German actors are cast, including an impessively alarming performance from Christoph Walz as Colonel Lando. The film also stars Diane Kruger, Til Schweiger and August Diehl.

I think it is going to be discussed by critics and public for some time.

1.The films of Quentin Tarantino, his reputation, his style? Audience expectations? His work as a director, writer?

2.The title, the spelling? Taken from the Italian film of 1978? The echoes of The Dirty Dozen?

3.Filming in Europe, locations in France, Germany? Authentic? The use of the variety of languages throughout?

4.The musical score, the range of songs, the theme from The Alamo, David Bowie, classics? Ennio Morricone? Fur Elise? Contemporary? Moods and cinema acknowledgment?

5.The structure: the five chapters, each in itself, bringing them together at the end?

6.Quentin Tarantino as film buff, the echoes of many films? Chapter one and the films of the French Resistance? Two, The Dirty Dozen, the films about Hitler, his ranting? Three, Paris, 1940s, cinema? The United Kingdom, the comments on film critics? The Resistance, Paris? Plans, going awry? The scene in the tavern? The finale, the cinema, the destruction of the cinema? Shosanna and her face on the screen, in the flames? Landa, his surrender to Aldo? Audiences familiar with the war films? The differences? 21st century perspective?

7.Chapter 1, the fairy tale, once upon a time in Nazi-occupied France…? The fable? The beauty of the landscapes, the farmer, the Nazis’ arrival, the farmer and his daughters, going into the house, the suave manner of the Nazi Hunter? The verbal jousting, the jobs for the daughters, the initial courtesy, language, Landa and his style? The family under the floorboards, his shooting them, Shosanna and her running? The chapter in itself as a war story? The later connection with themes of Shosanna and Landa?

8.Chapter 2, the Basterds, Aldo and Brad Pitt’s style, accent, his speech, rough, killing Nazis? The Jewish group? The hundred scalps? The visualising of the scalping? The bashing of the baseball bat? The flashbacks for the German hero, his turning against the Nazis, his torture and imprisonment? His being part of the group?

9.The contrast between Aldo and Hitler and his rant? The Reichstag, Hitler and his portrait, the cloak? The interview with the soldier, the flashbacks to his survival, the officer not giving information, his being bashed to death? The soldier being let go, his report to Hitler, Hitler’s reaction, the swastika branded on his forehead by Aldo?

10.Chapter 3, Shosanna, owning the cinema, 1944? The Pabst film? The allusion to German mountain films, Leni Reifenstahl? The transition to a French film? Frederick, his beginning conversation with Shosanna? His charm, knowledge of the movies, wider taste? Shosanna and her negative reaction? His later meeting her, talking, conscious that he was annoying her? Having the coffee, the autographs, his pride, the story of the sniper (and later being visualised in the film)? His starring in his own life story, his comments on cinema? Shosanna, the abduction? Meeting Goebbels and his translator? The discussions, the premiere, the cinema, the plan? The interaction between Frederick and Goebbels? Goebbels and his style, charm? Landa’s arrival, his being in charge of security, the discussion with Shosanna, her holding her tongue, eating the strudel? Shosanna and her determination, her working with Marcel, Landa and his denigrating comments about negroes? The plan, the film stock, filming for the addition to the film itself?

11.The United Kingdom, Churchill, the general, the critic and commando, the discussion about film, criticism, the war, the plan? Operation Kino?

12.Chapter 4, the café, the Englishman having landed, with the members of the Basterds, the German hero and his not saying anything but snarling? Bridget as the charming actress? Drinking, the German group, Willy and the birth of his baby? The card game and the questions? The German officer, hearing all his questions about the Englishman’s accent, joining the group, wanting to play the game, the ironies of identifying him as King Kong (instead of a negro slave to the US)? The Englishman and the three fingers, the German understanding that he was a fake, the guns pointed at each other? The mayhem, the bartender, the deaths, Bridget shooting Willy? Her shoe remaining, Landa finding it? Aldo and the group, coming to the rescue, the discussions with Bridget, fingering her wound in order for her to tell the truth? The new plan?

13.Goebbels and Hitler, Hitler deciding to come to the premiere? The group arriving, the hierarchy of the Nazis?

14.Chapter 5, the night of the screening, Bridget in her cast, Aldo and his bad Italian, Landa and his good Italian, his questioning of Bridget?

15.Landa, Bridget, the confrontation, his strangling her?

16.The two Basterds inside, with the explosives, taking their place, getting their guns, killing the guards, the explosions?

17.Aldo being arrested by Landa, being questioned, setting up the deal, the bargain, the contact with the OSS? Landa and his shrewd moves, his plans for his future, citizenship, land in Nantucket?

18.Hitler and Goebbels enjoying the film, the American deaths? The black and white film, the heroics, the sniper?

19.Frederick, self-conscious about the deaths, going to the projection room, meeting Shosanna, imposing himself, her shooting him? Going over to him, his shooting her?

20.The film, Shosanna’s speech, Marcel lighting the fire, locking the doors, the people in the theatre, Goebbels and Hitler, the flames, their deaths?

21.The forest, Landa and his freeing Aldo and his companion, the discussions about the surrender, Aldo handcuffing Landa? Branding the swastika on his forehead? Landa's comments on rats and squirrels? Aldo's 'masterpiece'?

22.The overall effect of the film? As a war film with its variety of styles? An as if – cinema conquering the Third Reich?

DAS WEISS BAND (THE WHITE RIBBON)

Germany/Austria, 125 minutes, Black and white.
Christian Friedel, Ulrich Tukur, Burghart Klaussner.
Directed by Michael Haneke.

Ascetical is a word that springs to mind to begin describing The White Ribbon. Director Michael Haneke has imposed on himself some very strict disciplines for this film. Set in the year before the outbreak of World War I, in a village in northern Germany, it is almost two and a half hours long. Filmed in crisp black and white, it uses the classical craft of films from decades ago.

Often, in look and theme, it reminds us of the older Ingmar Bergman films: a village, children, a pastor, a landowner, intense interactions. It also looks like many a French film, or even a Fox period film from the 1940s, though not studio bound. The takes are often long, static, with many reactions shots. It is not the swiftly paced material of today's films.

Michael Haneke makes films that are sometimes impassioned but which are also cool, even detached Many audiences may well find this the case with The White Ribbon. We observe unusual and cruel things going on in the village. We look at the characters and listen to them but, apart from the young local teacher (who is narrating the story in his old age) and his fiancee, it is difficult to empathise with them.

There are mysterious accidents in the village, some cruelty towards children, which still remains a mystery by the end. This is a village of olden days funny games which may involve the rather malevolent children. The Baron is a cold man. The pastor is even colder, stern in discipline with his children (which may be a cause of their actions). The doctor has some of the cruellest insults on screen as he dismisses his mistress and his midwife for his work.

The film indicates the beginnings of World War I and leaves us with the memories of strange times, strange people, strange behaviour.

Winner of the Palme D'Or, the International Critics Prize and a commendation from the Ecumenical Jury, Cannes 2009.

1.An austere film, ascetically made, well disciplined? Black and white photography, the camerawork, pace?

2.Germany in 1913-14, the village, isolated, the detail of its way of life, the baron, the farmers, the fields, the factories, the school? The locations and the atmosphere? Musical score? Hymns, songs?

3.The narrative, the old man in his old age voicing the commentary, not entirely sure of the facts, his voice, tone? His personalising the story? Seeing him as a teacher when young, his role in the school, in the village, the enquiry, his concerns about the children and the truth?

4.The initial accident, the doctor, the wire and his fall, his daughter and her concern, the midwife, his injury, hospital, the police investigation? The women knowing nothing about the wire?

5.The elderly woman at the factory, the rotten floor, her death, her husband’s grief, the coffin, the angry son, lopping the cabbages during the fair? The baroness and her shock, the baron and his speech in the church, calling the father back into the church, the son and the condemnation? The father and his attitude towards his son, forgiving him?

6.The teacher and the children, his fishing, seeing Martin walk on the bridge, getting him down, the fish for his father, the encounter with Eva, asking her to take the fish? Their pleasant and awkward talk? His visit to Eva’s father, thinking about her, the one-year wait? Meeting with her, the picnic and her requesting not to have it? The outbreak of the war, his eventually marrying her?

7.Eva, her age, the nanny, at the fair, with the children, the baroness urging her to dance with the teacher? The suddenness of her being fired, staying at the school, the alternate work at the hairdresser’s, her comments on it?

8.The baron, his role in the village, the landowner? Employing most of the people? His love for his son? His staff in the house? The steward? His relationship with his wife? At the church, the condemnation about the cabbages? At the fair, the opening speech? His reaction to his son being injured? His wife firing the nanny, leaving the village? The stay in Italy, the new Italian nanny, her return? The clash with her husband, the explanation of her Italian suitor, going back to Italy? The baron and his being left alone?

9.The pastor, his children, his relationship with his wife? The stern household? His running the parish? His reaction to the children and their being late, the punishment, no meal, caning them? The severity of his punishment? The little boy and the bird, the gift and his permission to look after it (its being killed and the little boy offering another bird to take its place)? His sermon, his tying the white ribbon on Klara, tying up the boy in bed? The preparation for confirmation, the class, his condemning Klara and her fainting? His finally giving her Communion? The interview with the teacher, the teacher blaming the children, the stern reaction of the pastor? His not firing the teacher, his not mentioning it again?

10.The children, in a group after school, Klara as the leader? Their concern about the doctor and the visit, about the injured boys? The two boys and the taking of Sige’s whistle, putting him in the river, the other rescuing him? Martin walking on the bridge, to see whether God wanted him to die or not? The children and their resentments? Malevolence – responsible for the injuries or not?

11.The steward, his children, his home life, working for the baron, the severity with the child accused of stealing the whistle?

12.The presentation of the wives, knowing their place, their forbearance?

13.The doctor returning, his son not responding to him? Going to work, relying on the midwife, the visits? The sexual relationship with the midwife, his sudden cutting her off, the severity and malice of his insults? Her response? His leaving the town? The midwife taking the bike – knowing he was guilty, but never returning?

14.Life and work in the town, the fields, the factory? The church and the choir? The Christmas celebration and the assembly? The baroness and her music, with the tutor and his flute? The overall view of life in the village?

15.The assassination in Sarajevo, the declarations of war, the war changing everything? Life in the village as a symbol of pre-war Germany? Deeper intentions?