LATE NIGHT SHOPPING

UK, 2009, 92 minutes, Colour.
Luke de Woolfson, James Lance, Kate Ashfield, Enzo Cilenti, Heike Makatsch, Shauna Mac Donald, Sienna Guillory.
Directed by Saul Metzstein.

Late Night Shopping is a small-budget British film about what the Americans call slackers. The film was made in Glasgow, focusing on four friends who work nightshift jobs and who meet at an all-night café. Their jobs range from hospital worker to shelf stacker, call centre operator and assembly line worker. They each have tangled relationships – and also betrayal of each other.

The film shows glimpses of their work, their lives. However, they are not particularly interesting characters – and some of their behaviour is alienating.

After various clashes, difficulties, talk-out of problems, they finally reconcile.

The film was an example of small-budget-making at the beginning of the 21st century in England – the stories and characters are ephemeral, but they reflect something of the atmosphere of the times.

1.The title? The nightshift workers? Their gathering together at the all-night café? Their friendship, betrayals?

2.The Glasgow setting, the city, day, night, hospitals, supermarkets, electronics factories, call centres?

3.The musical background, the car radio stuck on the 1980s? The musical score?

4.The discussions amongst the friends? Their personalities? Sean and his work in the hospital, the man having a heart attack, the inability to open the door for the ambulance? His pining for Madeline? Suzy, her visit to the hospital, her boyfriend in the coma? Her relationship with Sean, the seduction? Vincent, working in the store, his finding Madeline, his relationship with her, his knowing the truth? Lenny, the call centre, Gail working at the call centre, his shyness? Vincent, talking with Gail, Lenny’s reaction? The visit to the hospital, Vincent confessing the truth to Sean? Sean’s anger, the fight?

5.Sean, looking for Madeline, her leaving her flat? His going to the town, Jodie, Lenny and Vincent with him? Finding Madeline and Gail?

6.Vincent, his confession to Madeline, owning up to his friendship with Sean? Madeline and her not wanting to be with Sean? Jodie, her friendship? Moving the group towards the pier?

7.The confessions, the standing at the sunrise – and the dark glasses because of their difficulties with the sun after the nightshift?

8.The meaning of the reconciliation? Hope or not? The challenge to their values and stances? Their future?

EXIT WOUNDS

US, 2001, 102 minutes, Colour.
Steven Seagal, DMX, Isaiah Washington, Anthony Anderson, Michael Jai White, Bill Duke, Jill Hennessy, Tom Arnold, Bruce Mc Gill, Eva Mendes.
Directed by Andrzej Bartkowiak.

During the 1980s and especially the 1990s, Steven Seagal had a strong career in martial arts-type thrillers. By the beginning of the 21st century, he was getting older and heavier, nevertheless he continued for many years making a great number of action movies. The stunt work was necessary to show him fighting younger people than himself.

This is a police story set in Michigan. It is a focus on corrupt police. However, it has a very strong supporting cast around Seagal including many African Americans including DMX, Isaiah Washington as his partner, Anthony Anderson, Michael Jai White and Bill Duke. Tom Arnold also appears as a talk radio host.

The film looks good, the chases and action quite exciting. The film was directed by Andrzej Bartkowiak who was a cinematographer on many New York dramas. As a director he did Romeo is Dead with Jet Li as well as Cradle to the Grave.

Even though Steven Seagal is something of an encumbrance with his stolid performance and delivery, this is quite an exciting police and drugs corruption action film.

1.The popularity of Steven Seagal? In his heyday? In latter years? This film as an example of his latter years?

2.A police drama? Detroit? The city? The slums? The drug world? Police corruption? Police bravery?

3.Detroit the city, the police precincts, the cityscapes, the slums? The action sequences, the car chases, the fights? Editing and pace? The musical score, the hip-hop atmosphere?

4.Orin Boyd, the citations for bravery? His being independent, the criticisms from authority? The background of his saving the vice-president, the right-wing militia, Michigan? The irony of his not being commended? The authorities criticising him, punishing him for interfering with the Secret Service? The transfer, the tough neighbourhood?

5.His partnership with George Clark, Clark as a sympathetic character? Their work together? Henry Wayne, the talk show, the host? The anger counselling sessions? The effect on Boyd? The effect on Wayne? Their working together?

6.Latrell Walker? Drug deals? His reputation? The network? The arrest of Montini? The irony that Montini was undercover? The effect on Boyd, his being further demoted? Working traffic?

7.Montini, his personality, undercover, investigating Walker? The truth, the confiscation of the drugs, police storage, the corrupt police collaborating? Selling the drugs?

8.The irony of Walker being an internet millionaire, his real name, Leon Rollins, the background of his brother, the framing on the heroin charge? The role of the police?

9.Rollins and what he was really doing? His surveillance? Tracking the corrupt police? The mission to free his brother?

10.Montini and the clash with Boyd, taking him, the attempts to kill him? The elaborate building in which he was imprisoned? The escape? Boyd and the collaboration with Rollins?

11.Boyd, Clark and Rollins? The fight with the corrupt police, Strutt and his attack, his work with Montini? The impaling deaths of Strutt and Montini?

12.Rollins’ brother, being freed?

13.Boyd, his being recognised? The offer of his job? His decision to work with Clark in the neighbourhood?

14.The background characters? T.K. and his comic style? Strutt and his John violence? Hinges? Annette Mulcahy and her being in charge? Flirtatious attitude towards Boyd? Daniels? Trish?

15.The salacious but humorous talk between Wayne and T.K. during the final credits? The talk show discussion?

OBSESSED

US, 2009, 109 minutes, Colour.
Idris Elba, Beyonce Knowles, Ali Larter, Jerry O’ Connell, Christine Lahti, Matthew Humphreys, Bruce Mc Gill.
Directed by Steve Shill.

Any time is probably a good enough time for a re-run of the Fatal Attraction story. It is a perennial.

This time it involves a sensible financial adviser, played with quiet sobriety by Idris Elba, his wife, who used to be his assistant, played by Beyonce Knowles, and a temp in the office who won't take no for an answer, Ali Larter. The leads play African American characters and the temp(tress) is a blonde and white. However, this is simply presented as a reality and the screenplay does not make any allusions to race issues.

The setting is affluent and glossy. The family have moved into one of those LA mansions for professionals that we see so often in the movies and on television. There are lots of aerial views of the glass skyscrapers and the LA skyline.

Ali Larter is particularly good as the determined woman who is so caught up in her own obsessions that she can't imagine anyone thinking differently. When rejected, she becomes vengeful. The counterbalance is with the devoted wife who, on hearing of the possibility of her husband having an affair with this woman (whom she had instantly disliked), almost goes off the deep end, doing some unreasonable ranting and raving against the husband that only five seconds earlier she had devotedly loved (which means that the performance goes Beyonce belief!).

However, the film is watchable, Elba eliciting audience sympathy as his situation becomes more desperate and he is interrogated by a detective (a welcome Christine Lahti). No rabbits in the boiler this time, but the femme fatale does make a mess of the new mansion.

1.Interesting, entertaining? The variation on Fatal Attraction?

2.The Los Angeles fashionable world, the new house, the affluent offices? Exteriors, the glass vistas of Los Angeles high-rise? The musical score, its melodramatic tone?

3.The title, the reference to Lisa and her behaviour, Derek’s reaction? Sharon’s reaction?

4.The introduction to the perfect family, the new house? The personalities of Derek and Sharon? Kyle and the baby? Settling in? The unsteady roof – anticipating the finale?

5.Derek at work, encountering Lisa in the elevator, the flirtatious behaviour, the fatal attraction? His comments about himself? At work, Lisa as the temp, older, more qualified? Anticipating his coffee, sending the flowers to Sharon, dealing with his messages? Listening in to the phone calls? Derek at home, his friendship with Ben, Joe as the boss, Patrick as the assistant? The clients, his portfolio, success?

6.Life at the office, the routines, Marge as secretary, Patrick as assistant, his propensity for gossip? Ben and his leering tone and conversation? Joe and the decisions about work?

7.Lisa, ingratiating herself, taking Patrick’s place, taking Marge’s place? Meeting Sharon and Sharon’s dislike? The party, in the restroom, her coming on to Derek, her behaviour, her not taking no for an answer? Her presumption thought as she did? Derek’s strong reaction? Leaving the party? Lisa in the car, her clothes, the parking lot and his ousting her? The film indicating her psychopathic tendencies?

8.Sharon, her concern about her sister and her husband’s leaving her? Derek deciding not to tell her what happened? The New Year celebrations? The email from Lisa and Derek deleting it?

9.Derek, his going to the personnel manager, Lisa and her leaving the company? Derek at peace?

10.The management retreat, the luxury hotel, the men chatting? Sharon and the phone calls? Lisa and her sending over the drink? The come-on, the argument with Derek, her drugging his drink, her going to his room, the night, his waking up and being late for the meeting, her sending the message that she was his wife, wanting to go for a drink, his rejecting her? His defying her to go into the meeting and tell the truth? Her suicide attempt, the hospital, sending herself flowers in Derek’s name?

11.Derek’s reaction, going to the hospital, the detective and her enquiries? Sharon, coming, her reaction?

12.Sharon’s outburst, her inability to listen to Derek’s explanation, ousting him from the house?

13.The months passing, Kyle and his outings with his father? Lisa in San Francisco? The beginnings of the reconciliation, the key in the box, the dinner at the restaurant?

14.Lisa coming to the house, pretending to be Katie, Sharon’s friend, the babysitter challenging her, the phone call, her performance on the phone, Derek and Sharon arriving home, frantic, the search, finding the baby in the car, the lipstick on its forehead? Taking Kyle to hospital? Coming back to find the mess in the house? Lisa’s vindictiveness?

15.Derek and Sharon reuniting, the preparation for the trip? Patrick and his giving the information to Lisa and gossiping?

16.Sharon returning home, the secretary system, finding Lisa, going into the roof, the dramatising of the fight between them, Lisa going through the roof, the chandelier, her death? The detective arriving?

17.The detective, her investigations, believing Derek or not, believing Lisa or not?

18.The happy ending – and audience satisfaction at having watched the Fatal Attraction theme and its being resolved?

NIGHT AT THE MUSEUM: THE BATTLE OF THE SMITHSONIAN

US, 2009, 105 minutes, Colour.
Ben Stiller, Amy Adams, Hank Azaria, Owen Wilson, Robin Williams, Christopher Guest, Alain Chabat, Steve Coogan, Ricky Gervais, Bill Hader, George Foreman.
Directed by Sean Levy.

We've been here before and have befriended quite a number of the characters. So, why not another visit? It is much the same as the first, although the great advantage then was the novelty of the plot and the situations, the variety of historical characters and creatures which were a delight. Since, there is no real new novelty, this sequel has to rely on charm, wit and some more inventiveness. Not quite the same as the first time round, but plenty of enjoyable moments.

Actually, Ben Stiller as Larry Daley is not as bright and breezy as the first night. He has become an inventor and is on a TV promotion show with George Foreman, caught up in ads and business. Lucky for him, he is appealed to by his friends, the exhibits, because there are renovations going on in the New York museum and some problems at the Smithsonian in Washington DC. What else can he do but infiltrate the Smithsonian and help the goodies against the baddies?

The goodies this time include the cowboy and centurion friends, Jedediah and Octavius (Owen Wilson and Steve Coogan). But Amelia Earheart materialises in the form of Amy Adams and is in for the adventure as well as some flirting with Larry Daley (and a stream of phrases and slang from the 20s and 30s which he does not understand). The villain is Kahmunrah from ancient Egypt who has world domination in mind. Hank Azariah gives a fine comic performance (with Boris Karloff accent and lisp as well). He gets help from Napoleon (who resents the references to height), played by Alain Chabat and Ivan the Terrible (who says the translation should be 'Awesome'), Christopher Guest. Al Capone and his henchmen are there, but in black and white. The statue of Lincoln from the memorial also comes across to lend a hand and good advice.

The dinosaurs and mammoths are back, and the monkeys, but also a giant squid. Custer is there as well and redeems himself for Little Big Horn.

One of the attractions is the number of classical paintings that come alive and that Larry and Amelia fall into, as well as a black and white end of World War II photograph. There is also Rodin's the Thinker – but he he not too bright!

The ending is nice (and even Ricky Gervais as the director is nice now) and the exhibits are having the time of their new lives communicating with the museum visitors.

1.The popularity of the original? The entertainment of the sequel? The tale? The imagination?

2.The real world of Larry Daley, inventions, home, the studio audience and George Foreman’s interview? The contrast with the world of the imagination, the historical characters, the museums?

3.The premise, the characters coming alive at night? The variety of characters? Life at the museum? The renovations? The characters in the archives? The contrived plea from Theodore Roosevelt and from Jedediah for Larry to come?

4.Larry, the years after the first Night at the Museum, his inventions, the glowing torch, his success? His television personality? The interviews and jokes with George Foreman? His son? Going to Washington, infiltrating the museum, the discussions with the security guard, getting his pass, finding the uniform? The torch as the instrument?

5.Kahmunrah? Hank Azaria’s impersonation, the Boris Karloff accent, the lisp? His appearance, the discussions about the dress and the tunic? His plan for world dominance? Waiting for three thousand years? The clash with his younger brother – his appearance in the previous film, at the end in the discussions with the children at the museum? Preparing a confrontation? Meeting Larry, taking him prisoner, his soldiers and their spears? The issue of language, talking in English – and his English style?

6.Napoleon, the discussions about his size? Ivan the Terrible and his wanting to be considered awesome? Audience knowledge of these characters, world dominance? Their decision to help Kahmunrah? Their activities, the pursuit of Larry, taking him prisoner?

7.Amelia Earhart turning up, strong character, her pilot’s dress, her language from the 20s and 30s, the slang? Flirting, kissing Larry, wanting to participate in the adventures? Flying the plane? The dangers, the spears? The rescue? Her accepting going back to being an image after the adventure?

8.The octopus, locking him up, Larry’s plan and unleashing the octopus on his pursuers? The attack, Larry putting him in the pool, his enjoying the water, grateful to Larry?

9.The range of animals, the dinosaurs, the Mammoth? The two monkeys, the monkey from space, the ordinary monkey, their talk, collaboration?

10.Roosevelt, only a bust in the Smithsonian, seeing him again on horseback in New York?

11.General Custer, his vanity, his hair, a coward, his voicing his plans, Larry persuading him to attack, the final heroism, the Battle of the Smithsonian? The discussions with the Indians, with Attila and his men? Imprisoned?

12.The paintings in the Smithsonian, their coming alive, the post-war black and white film, Amelia and Larry within the film, the sailor fending off the enemies? Not knowing what the mobile phone was – and in the credits sequence his working on it? The other paintings and the way that they were amusingly drawn, coming to life? Rodin’s The Thinker, their asking his advice – but finding he was pretty slow?

13.Jedediah and Octavius, their friendship from the past film, their escape, Kahmunrah finding them? Imprisoning Jedediah in the hourglass? Octavius and his going to the rescue, at the White House, the squirrel in the lawn, riding the squirrel to avenge and free Jedediah?

14.The tablet, the formula, going to the Einstein heads, getting the number pi? Using it to open the vault?

15.Al Capone, gangsters and the black and white photography? The joke about the Jonas Brothers?

16.Abraham Lincoln, the Lincoln Memorial, the giant-size statue, his moving from the memorial, coming to the rescue of Larry, his intervention, dividing the enemy – and Larry using it to set Napoleon and Ivan the Terrible against each other with their rivalries and not wanting to be subordinate? Lincoln and his wisdom, going back to the memorial?

17.Kahmunrah and his army, the attack of the squirrel, everybody fleeing? The fight between Kahmunrah and Larry, Larry trapping him in the vault and his going back into the past?

18.The reopening of the New York Museum, Larry and his selling his company, the generous donation? Ricky Gervais as Doctor McPhee?, his more pleasant language this time, his doubting whether Larry would have given the donation? The crowds coming in, all the characters alive, presenting themselves, in conversation with the public? The dinosaur breathing on the sceptical boys? Larry and his son, the Amelia Earhart lookalike and the possibility for Larry?

19.A film for fun and the imagination?

REAL WOMEN HAVE CURVES

US, 2002, 87 minutes, Colour.
America Ferrera, Lupe Ontiveros, Ingrid Oliu, George Lopez, Brian Sites.
Directed by Patricia Cardosa.

Real Women Have Curves is a first feature by Patricia Cardosa who won a number of competitions with her short films. It is based on a play by Josefina Lopez. The film does not seem to be stagebound at all, although it is very strong in dialogue.

This was the first film for America Ferrera, aged eighteen, who went on to star in such films as The Sisterhood of the Travelling Pants as well as win an Emmy and a Golden Globe for her series, Ugly Betty. Lupe Ontiveros, who has portrayed, it is said, a hundred and fifty maids in films and television series, has probably the best role of her career as America Ferrera’s dominating and self-centred mother. Ingrid Oliu is very good as the older sister. Comedian George Lopez is a sympathetic teacher.

The film focuses on women, is a film for women rather than men, is a film for women who are full-bodied rather than matchstick. There is a lot of discussion about size, weight, being fat – as well as confidence in one’s body, inner beauty, self-awareness and self-confidence.

The film is set in the Hispanic community in Los Angeles and will resonate with audiences from this district as well as those interested in seeing a perspective on Hispanic life in the United States.

The film focuses on Ana, played by America Ferrera, an intelligent girl who has gone out of the neighbourhood to Beverly Hills High School and wins a scholarship to Columbia University. Her parents, who have worked since they were teenagers, don’t want to break up the family and the mother is unconsciously jealous of her daughter, ridiculing her size and weight all the time, wanting her to learn to sew and to work in her sister’s factory.

The film is brief, well written, well acted – and, unexpectedly, there is a very insightful and humorous sequence in the factory where the women, on a very hot day, are in their underwear, comparing sizes and joyfully accepting themselves.

1.The quality of the film, awards? Based on a play, opened out? Strong dialogue?

2.Los Angeles, the Hispanic neighbourhood, homes and factories, the streets? The Beverly Hills High School? The affluent homes? The musical score?

3.The popularity of the film, for American audiences, Hispanic, worldwide? For women?

4.The title, full-bodied women, the comment on the media and the expected image of glamorous women? The reality, weight, fat? The mother taunting her daughter? Ana and her relationship with Jimmy, talking about herself, wanting Jimmy to see her as real? The heat scene in the factory, the women and their underwear, the cellulite, joyful and funny? The mother in denial? Her comment about getting married and then accepting one’s size?

5.The film as the story of Ana, aged eighteen, her weight, the dominance of her mother, her mother’s continuous taunts and ridicule, her love for her sister, love for her quiet father, the grandfather, at home? Mother and daughter clashes? Her mother pretending to be sick? Ana going to school, her success at school, Mr Guzman and his help, urging her to go to college, explanations about the scholarships, urging her to write a story? Going to the factory, the pressure from her mother? Her exasperation? Her sister paying her? Meeting the women at the factory, creating a bad impression, burning the dress? Walking out? Jimmy and his friendship at school, going out with him, the kisses, buying the condoms, saying she was ready, letting Jimmy see her body in the light? The goodbye to him, the future and not seeing him much? Her mother, her upset about her sexual encounter? Her mother thinking she was pregnant? Going to the doctor, not understanding the menopause? Arguing with Ana, the sugar, eating the flan? Mr Guzman’s visit, the news about the scholarship? The parents and their reaction? Her asking her father and his letting her go? Preparing to go to New York? The work in the factory, the stripping, comparing sizes? The mother being scandalised? Going to the airport, knocking on her mother’s door, her mother’s refusal to come out? The final exhilaration of Ana walking up from Times Square in New York City?

6.Carmen, her story, working in the factory from age thirteen, sewing, her self-centredness, feeling sick, continually humiliating her daughter? Her love for her husband, cooking the meals? Her demands? Forcing Ana to go to the factory, Estella and her work in the factory? Her thinking she was pregnant, going to the doctor, not understanding the menopause? Refusing the scholarship? The party and Ana’s graduation? Hostility towards Mr Guzman? Worried about her daughter, virginity, getting married? Scandalised at the behaviour of the women in the factory? Refusing to farewell her daughter?

7.The women at the factory, the background of their lives, work, banter with each other, joy, the strip scene?

8.Estella, owning the factory, the cheap rates for the dresses, yet her quality work, her patience, making the dress for Ana, supportive of her sister?

9.The father, quiet, working as a gardener? The grandfather, at home, the dominoes? The father accepting the scholarship for Ana? Taking her to the airport?

10.Mr Guzman, encouraging Ana, the essay, his going to the house, the treatment?

11.Jimmy, the white boy, admiring Ana, the dates, the sex, the farewell?

12.The story of a young girl, trapped by economics, racial stereotypes, the family? The hope and possibilities?

GADJO DILO

France, 1997, 102 minutes, Colour.
Romain Duris, Rona Hartner, Izidor Serban.
Directed by Tony Gatlif.

Gadjo Dilo is the work of Algerian-born, French-raised Tony Gatlif, of gypsy extraction. He has shown over the decades a particular interest in exiles, gypsies, music. They combine in this film. It is the third in a trilogy of films about gypsies, The Princes, Latcho Drom. Later he was to make Exils, with the star Romain Duris.

This film has a French lead, in an unfriendly Romania, in gypsy country. Eventually accepted into the community, who see him as an outsider, a gadjo, one who is crazy, dilo. He is adopted by an elder in the community and learns about the music which he wants to tape.

The film is vivid in its presentation of the gypsies and their lifestyle. There is also, towards the end of the film, a grimmer picture of gypsy life as the Romanians attack the village, a kind of ethnic cleansing which was being carried out in the Balkan states that the film was made in the mid-90s.

Tony Gatlif has become a film chronicler of the gypsy way of life more than any other directors, combining a documentary style about their life, music, with a narrative.

1.The impact of the film? Gypsies? Romania? Gypsy life, gypsy communities?

2.The work of the director, his background, his perspective on the gypsies? His skill in bringing the characters vividly to life? The Romanian settings, the outskirts of Bucharest, the village itself? The wintry countryside at the opening? The city of Bucharest? The action sequences and the attack on the village?

3.The importance of music, the traditions, the gypsy songs? Stephane and his research? Wanting to find the originator of the music? His listening to the songs, their performance? Song and dance?

4.The quest, Stephane, from Paris, looking for the gypsy singer, his father’s favourite songs and the records? His arrival in the snow, the village? His meeting Izidor? Izidor as elder, fiddler, his son in prison? The shelter? The other gypsies thinking he was a crazy outsider, a gadjo dilo?

5.Izidor liking Stephane, treating him like his son? His insisting that he stay? Izidor and his character, influence, getting the other gypsies to accept Stephane?

6.Sabina, her having been married to a Belgian? The search? Sabina and her attitude towards Stephane, hostile? Going to Bucharest, their time together, love?

7.Izidor’s son, returning home from prison, the fight in the bar? The attack on the village? Adriani’s death?

8.The background of the songs, the rituals, especially Izidor and grief, the mourning for his son? Stephane repeating it at the end of the film?

9.Gatlif’s poetic eye, the visual beauty of the composition of the scenes, attention to detail, the horse, the houses? The blend of the visual poetry with the music?

HANA-BI

Japan, 1997, 104 minutes, Colour.
Beat Takeshi, Kayoko Kishimoto, Ren Osugi.
Directed by Takeshi Kitano.

Takeshi Kitano is one of Japan's celebrities, comedian, TV host, writer, painter, actor and in more recent years, director. His films have tended to be hard-hitting cop and yakuza dramas, stylishly but violently done. Hana-bi (which means flower and fire and is translated Fireworks) was grand prize winner at Venice, 1997 and is a very skilful and arresting film combining Kitano's interest in the police and the gangsters (and some startling violent sequences) along with a contemplative approach, a meditation on life and death, vengeance and honour, and a beautiful look at marriage. Specialist but fascinating viewing.

1.The career of Takeshi Kitano? Gangster films? Meditative films? His work as an artis? Television comedian? The blend of these themes in this film? Its acclaim and awards?

2.The settings, Japanese city life? The work of a detective? Retirement? Hospitals and the ill wife? The bank robberies? The musical score?

3.The title, fireworks? Flowers and fire?

4.The focus on Nishi? His work as a detective? His being taciturn? Yet the audience understanding his character and the way that his mind worked? With Horibe? Horibe and the stakeout, the killer? Nishi and his visiting his wife, her terminal illness, hospital? The doctor and the discussion about Miyuki’s death? The news about Horibe, shot, wounded?

5.The background of Nishi, Detective Nakamura, Detective Tanaka? The killer? Stalking him? The shopping mall? Nishi and his attack on the killer? The wounding of Nakamura, the death of Tanaka? Nishi shooting him? Nishi and his emotions, firing all his shots into the killer?

6.Horibe, his wounds, wheelchair? Abandoned by his wife and his child? His suicidal behaviour?

7.Nishi, leaving the police force, his care for his wife, her convalescence at home? The significance of the debt, borrowing money, the loan sharks, the background with the Yakuza – and Nishi giving money to support Tanaka’s widow?

8.The issue of art, paintings, his buying the materials, the beret, giving them to Horibe, for Horibe to paint?

9.The loan sharks, the criminal background, refusing to give him more money? The credibility of Nishi’s decision to rob the bank? Paying off his debt?

10.Life seeming to start a pattern? Horibe’s painting? Nishi and his wife going on a trip, to Honshu, to Hokkaido, recreating their honeymoon?

11.The pursuit by the criminals, their awareness that he has robbed the bank, their attack on him, his killing them?

12.Nakamura, his intuition that Nishi had robbed the bank, following him, discovering the dead criminals? His confrontation with Nishi and Miyuki on the beach? Nishi and his request to wait, his last moments with his wife, the shootings? The Japanese attitude towards life, death, suicide?

13.The gangster conventions and how well they were used? The police investigation conventions? This contrasting with the humane elements, Nishi, despite his silence, helping Tanaka’s widow, helping Horibe to paint, bring him alive? His care for his wife?

14.The insight into human nature – and the Japanese perspective?

KLIMT

France, 2006, 131 minutes, Colour.
John Malkovich, Veronica Ferres, Stephen Dillane, Saffron Burrows, Nikolai Kinski.
Directed by Raoul Ruiz.

Klimt received very mixed reviews on its release, which limited further release. Many audiences were expecting a straightforward biography of the Austrian artist Gustav Klimt. However, Raoul Ruiz has never been interested in making straightforward films. He has filmed Proust and other classic writers and is interested in states of mind, time shifts, fantasy and reality. This means that this film is more a portrait of Klimt, even a portrait of his inner states of mind which were the source of his art and his eccentric behaviour.

Klimt received a medal in the Paris Exposition of 1900. He had a very fruitful period from that time to his death of pneumonia (rather than syphilis as suggested in the film) in 1918.

One of the difficulties is that John Malkovich portrays Klimt. Malkovich can be very mannered, low-key, eccentric. This is very much the case here – perhaps encouraged by the eccentricities of the director and his aims. Veronica Ferres is Midi, the fashion show owner so influential in Klimt’s life. Stephen Dillane portrays a secretary who may or may not exist. Saffron Burrows is a creation of the film, called Lea de Castro, who appears as an influence on Klimt, seductive as well as contradictory. There are two Lea de Castros in the imagination of Klimt.

The film also portrays Emily, who stayed with Klimt all his life as well as the model Mizzi who bore him two children. He had a large number of children as well as many mistresses.

The film does not show so much of Klimt’s art work. It was sexual and sensual in its nature – perhaps reflecting his own drives. However, there was a madness in Klimt, seen in the portrayal of his mother and sister who also had mental difficulties.

There are the usual jealousies of other artists as well as of politicians trying to control Klimt and his art work.

The film is perhaps for connoisseurs of films about artists and their creativity rather than a film for the general public.

1.Films of artists, portraits, biographies, studies, imagination and art, fantasy?

2.The work of Raoul Ruiz, complex, periods and history, classics?

3.Audience awareness of Klimt, as a person, as an artist, his reputation? The portrait of his painting rather than his paintings in the film?

4.Vienna, turn of the century, Paris, the Exposition? The Fan d' Siecle atmosphere, lavish?

5.Klimt as dying, the flashbacks, the past, his imagination? His illness, the women?

6.His life in Vienna, growing up, his art, his work, studio, the women? His reputation?

7.Paris, the meeting with Georges Melies, making the film, the elaborate technology of the beginnings of film-making? Film and art?

8.Lea de Castro, in herself, the meetings, the influence, the relationship, the effect? Real or unreal? Her identity?

9.Klimt’s mother, sister, their rants, their influence on Klimt, their mental states?

10.Klimt’s work in the early 20th century, growing reputation, influence?

11.Klimt as a personality, likable or not? His attitude towards people, fighting in the streets, arguments, politicians? His exploitation of people?

12.The importance of reality and fantasy? The restaurants, the waiters, the politicians, boxing in the streets, the women?

13.The role of the secretary, function, realistic or not? With Lea de Castro? The discussions and the mystery?

14.Lea, a symbol for the film, truth, fantasy, imagination and reality? Relationships, rejection, sexuality, sensuality?

15.Emily and her staying with Klimt, their relationship, her being the manager? Mizzi, the model, the mistress, the frantic rejection, the children? Midi and her management of fashion?

16.The overall impact of the film – an experience of Klimt and his art and processes rather than a biography?

THIRTEEN

US, 2003, 100 minutes, Colour.
Holly Hunter, Evan Rachel Wood, Nikki Reed, Jeremy Sisto, Brady Corbet, Kip Pardue, Vanessa Hudgens, Deborah Kara Unger, D.W. Moffett.
Directed by Catherine Hardwicke.

A close-up on contemporary Girls' Culture in the US, especially at the onset of puberty, puberty blues, where thirteen year old girls experience the angst of past generations but find themselves in a permissive and rootless Californian society where glamour and flaunting it are everything, where media dictate what is fashion and what is not, where opportunities for drinking, for drugs and for sex are immediately available and where parents, their own struggles still going on and marriages being fragile or broken, try to exercise some authority and discipline but their efforts are futile. Welcome to one of the principal parents' nightmares. Thirteen.

One hopes that this is not too much the case with most families. On the other hand, it is the perennial context in affluent societies for girls to experience rejection, question self-image and identity, rely too much on peer influence and pressure and make a mess of their lives.

Catherine Hardwicke won the director award at the Sundance Festival 2003 for this, her first film. Trained as an architect and working as a set designer with many well-known directors, she ventured into writing, especially with the alienated daughter of a close friend. The daughter, Nikki Reed, had just gone through her thirteens and was encouraged to share in the writing of the screenplay. Nikki Reed appears in the film, not as Tracy, the girl who embodies so much of her experience, but as Evi, her precocious and provocative best friend. The role of Tracy is played very well by Evan Rachel Wood. There is a strong adult contingent in the film, led my Holly Hunter as Tracy's well-meaning but floundering mother, Jeremy Sisto as her ex-druggie boyfriend and Debora Kara Unger as Eva's stepmother.

The film is set in LA with its combination of real and unreal. Perhaps the treatment is sometimes larger than life and audiences might react by saying this is too much. However, for the impact of the film and its challenge to thirteen year old girls and their parents, the melodramatic tone gets attention and keeps it. What will become of Tracy?

1.A slice of life, real, authentic, not? The US, affluent world? Impact for American audiences? World audiences?

2.Los Angeles, the symbol of US affluence, permissiveness? The cityscapes, homes, schools, shops? The teenagers and their hangouts? The musical score?

3.The title, the focus, the girls and their age, a film about girls, not boys? The boys on the periphery, Mason, Luke and the others?

4.The focus on Tracy, being high with Evi, going back three months, audience expectations of her fall?

5.Tracy as an ordinary girl, her relationship with Melanie, with Mason, the absent father? Her mother’s boyfriend? Going to school, Mason introducing her and her friend, looking too straight, conventional? Looking at the other girls and their flaunting their style? Admiring Evi, talking with her, becoming friends, her hopes? Leaving her old friends behind?

6.School life, the boys and the girls, the girls and their clothes, behaviour, snobs, fashion, the mean girls syndrome? In class, the teachers?

7.Tracy and Evi, the bond of friendship, sharing ideas, the elaborate scenes of shopping, flirting with the boys, giggling? Shoplifting? Evi stealing the wallet, the money and cards, the gift to Tracy? Changes in hairstyle, makeup, the piercings? The girls and their attitudes?

8.Mason, older, smoking pot, his friends, the clash with Tracy? The relationship with his mother?

9.Melanie as ordinary, trying to do her best, allowing her daughter freedom, not knowing what was happening, work at home, hair stylist, her friends and clients? Her being upset at Tracy’s talk in front of her clients? Money, talking with her daughter, losing contact with her, her daughter shutting the door in her face, her bewilderment?

10.Tracy’s attitude towards her mother, on the phone with her father, shutting her mother out, despising her mother? With Evi? Evi at Melanie’s house, the bond between them, criticising her stepmother? Evi and her story, meeting the stepmother, going out to work? Her disappearance and Evi staying with Melanie?

11.Brady, Melanie’s boyfriend, his arrival, Tracy’s dislike and spurning him, meals, at home, the drugs, his trying to help Tracy?

12.Tracy’s father, unable to help, the visit, talking, the need for jobs to support the family?

13.Tracy, lapsing with her studies, the teacher and the threat of failure, repeating a year? Her decision to leave home?

14.Melanie and Brooke? Their discussions, attitudes towards their daughters, the discovery of the drugs, the money, the confrontation?

15.Brooke telling Tracy off, telling her she was a bad influence? Evi insulting Mel and the smell of the house?

16.The boys, permissive, Luke, at home, the girls under age, sexual experiments – and then his sending the girls away?

17.The final frame, the focus on Tracy? Portrait, indictment? Hope or not?

THE WELL

US, 1951, 86 minutes, Black and white.
Richard Rober, Gwendolyn Laster, Maidie Norman, Ernest Anderson, Harry Morgan, Christine Larsen, Tom Powers.
Directed by Leo C. Popkin and Russell Rouse.

The Well is a very interesting film illustrating B-budget film-making of the early 1950s. It is rather melodramatic in its style, at least by contemporary standards. While Dmitri Tiomkin’s score was nominated for awards, it seems highly melodramatic these days.

However, the film reflects the racism of the period. To that extent, it must have been a courageous film to make in the early 1950s. This was the period of Home of the Brave, Pinky, and Sidney Poitier’s early appearance in No Way Out. The film also echoes Billy Wilder’s Ace in the Hole, released the same year – although the attention there was on the media rather than on race issues.

The story takes place over one day. A five-year-old on her way to school stops to pick some flowers and falls down an abandoned well. Rumours start circulating in the town, the little girl was seen with a stranger. He is eventually tracked down, arrested, interrogated, found guilty before being tried – until it emerges that he is the nephew of one of the big wheels of the town. When the black population gather outside the police station, the industrialist is knocked down and goes to hospital. Rumours continue to spread and this is shown quite vividly. They become highly exaggerated. Young people, both black and white, take to the streets, riot, attack each other, break windows, attack shops and loot.

The genial sheriff tries to do his best for the young man, for the family, for justice. He has long discussions with the mayor – especially about calling in the National Guard and the consequences of this.

Eventually, a little boy finds the girls things near the well and the rest of the film shows the town joining together, the industrialist supplying heavy equipment, the young man accused, after some reluctance, bringing his mining skills to the digging of a hole to get the girl out of the well. He offers some heroism at the end by going down to rescue the little girl.

While the film is very much of its time, it is very interesting to look at in order to understand something of American attitudes at the time. The film was nominated for Oscars for editing and for the screenplay and was nominated by the Writers’ Guild as contributing to the exploration of social problems of the period.

1.The impact of the film? Decades later? Estimating the importance and impact of the film in its time?

2.American attitudes of the period, African Americans, whites, antagonisms, prejudice? Living side by side – but provocations able to induce riots and bigotry?

3.The black and white photography, the average American town? The streets and shops, police precinct, the homes? The outskirts? The field with the well? The musical score and its high melodramatic tones?

4.The introduction of the theme: the little girl, African American, going to school, picking flowers, falling down the well? Her spending all day in the well? Her parents eventually coming, calling out to her, her being rescued?

5.The panic in the town, the rumours about the young man seen talking to the girl? His being apprehended, his innocent explanations, people contradicting him? His being taken in by the sheriff, the interrogations? The presumption of his guilt? People gathering, wanting justice? The African Americans and their attack on him? The police, their personalities, the sheriff as fair minded, the bigotry in some of the other police? The mayor, his concern, wanting to do the right thing? As rioting progressed, the decision to call in the National Guard, the pros and cons, creating a panic situation? The time element?

6.The sheriff, his personality, handling the situation, his fiancée, the personal aspects of his life?

7.The girl’s parents, their concern, the attack on the industrialist? His going to hospital? The bitterness on all sides?

8.The young people, coming out in the streets, the white teenagers and their bigotry, brutality, bashing the African Americans? The young blacks, coming out on the street, rioting and looting? The growing battles on the streets?

9.The ordinary people in suburbia, passing on the information, exaggerating it, exacerbating the rumours?

10.The potential for an all-out riot? The manifestation of deep prejudices and hatreds?

11.The voices of common sense, of peace, reconciliation? The grandfather? The role of the various people in the town, the schoolteacher, the florist, the deputies?

12.The young boy, finding the little girl’s things? Information to the police?

13.The change of tone, the need to rescue the girl, everybody joining in? The industrialist and his anger at the factory, wanting lynch law and vigilante behaviour? His being shamed? His concern about his nephew and his talking with him?

14.The nephew, his wanting to leave town, the injustice he had experienced? His being persuaded to go to the well, his mining background, giving information, the equipment, the tunnel, his having to go down, his rescue of the little girl?

15.A film of its time – but interesting for contemporary audiences and the continued presence of racial problems?