GOING ALL THE WAY

US, 1997, 103 minutes, Colour.
Jeremy Davies, Ben Affleck, Amy Locane, Rose Mc Gowan, Rachel Weisz, John Lordan, Jill Clayburgh, Lesley Ann Warren.
Directed by Mark Pellington.

A re-creation of 1954 as a setting for another story of a young, shy man (Jeremy Davies) ,just back from fighting in Korea, trying to find himself: to escape his dominatingly tidy mother (Jill Clayburgh), to find a satisfying relationship and enlisting the help of his seemingly capable friend (Ben Affleck). The 50s atmosphere is a plus but the material is familiar and some of the characterisations and situations (though a blend of fantasy and reality) a touch too caricatured.

1.The film as something of a cult film after its initial release in the late 90s? Its themes? Young veterans? Adapting to the American way of life? The pressures? Suicide?

2.The 1950s setting, the aftermath of the Korean war, the returning soldiers? Ordinary life? The presentation of family, the young men trying to get away from family, family pressures?

3.The cast, at the beginning of their careers? Subsequent careers? The veteran actresses playing their mothers?

4.The focus on Sonny, his age, his having left home to enlist, the experience of the war in Korea, his friendship with Gunner? Not at school? On return? The bonds between them? Opposite temperaments? Gunner and his extroversion, ladies’ man, action? His taking on Sonny? The repercussions for Sonny, trying to adapt to a more outgoing way of life? Drinking? The sexual encounters? His own sexuality and problems? His being attracted to Gale? His being impotent with her? Friendship with Marty? Buddy as his girlfriend, returning to her? His relationship with his mother, the pressures from his mother? The quiet father? The effect of this experience? Optimistic/pessimistic?

5.The contrast with Gunner, Ben Affleck’s style? At school, the hero? Action in the war and decorations? The return, the experience of Asia, the touch of Zen Buddhism? His taking on Sonny as a friend, or as a case? Introducing him to a more extroverted way of life? His own experiences, relationship with women, drinking? The responsibility for Sonny’s behaviour? The developments, his future?

6.The role of the young women, Gale, glamorous, Sonny attracted? Relationship with Gunner? Her friendship with Marty? Buddy, the small-town girl, her relationship with Sonny? The perspective on women – from the film director’s point of view, from the central character’s point of view?

7.The portrayal of the families, the parents? Alma and Elwood Burns, religious, serious? Their influence on their son, his wanting to get away from them? His mother and her continued influence, dominance? The contrast with Nina, her relationship with Gunner, a more permissive approach to life?

8.The background of the friends, Luke, the other young men of the period, the girls? Social way of life in the early 50s?

9.How much insight into human nature, the problems of the 1950s for young adults, continuing in subsequent decades, different forms and manifestations?

BRAVE WARRIOR

US, 1952, 73 minutes, Colour.
Jon Hall, Christine Larsen, Jay Silverheels, Michael Ansara.
Directed by Spencer Gordon Bennett.

As B-feature films from the 1950s go, Brave Warrior is as good as any. Its strength lies in its colour photography and its story. Performances are rather ordinary – although Jon Hall was one of the action heroes from the late 30s and made a prolific number of films during the 1940s. Native Canadian Indian, Jay Silverheels portrays the chief of the Shawnees. He was later to become famous as playing Tonto to Clayton Moore’s Lone Ranger.

The director is Spencer Gordon Bennett, also a prolific film-maker, director of many serials during the 30s and 40s.

The film takes us into an unusual area of westerns: Indiana, the prelude to the war against England of 1812.

The title refers to Jon Hall’s character, Steve Ruddell, a military man sent to investigate spy activity on the part of the British, stirring up the Shawnee Indians. It also refers to Jay Silverheels’ Chief Tecumseh, an enlightened chief who wanted peace and was instrumental in building up a modern township. However, Michael Ansara as his brother, the Prophet, is a rebel, preaches revolution, is financed and supplied arms by the British, destroys the town that his brother has built.

The 1812 war is not seen very much on the American screen – and this film indicates that it might make a good setting for some interesting westerns and war films.

1.The popularity of B-budget westerns in the 1950s? Their straightforward storytelling? Their not dating?

2.The Indiana locations, the town, the countryside, the mountains? The musical score?

3.The background of the war of 1812, the aftermath of the American revolution? The British wanting to take back the United States? Infiltrating from Canada, making alliances with the Indians? Espionage in the American towns? The portrayal of the British military, their work? MacGregor? and his being a spy for the British?

4.The opening, the salt rations taken up the river, the attack by the British troops, the stealing of the cargo, burning it? The repercussions for Indian-American? relationships?

5.Steve Ruddell, military hero, in town, his investigations, his love for Laura MacGregor?, his friendship with Tecumseh? The meetings with Mac Gregor, the discussions, dinner at his house, the Prophet and the raid? His friendship with the governor, suspicions of MacGregor? The opening of the town, the Prophet’s attacking it? Ruddell and his plan to deceive the British, the empty wagons, the firing of the cannons, discovering the positions of the cannons, the attack? Warding off the war for the time being? His love for Laura, promising her father that he would protect her, Tecumseh and his farewell?

6.Tecumseh, the wise leadership, the native American Indians at the beginning of the 19th century? Peace treaties? American treaties – and their breaking the treaties? The building of the town, the dedication? Tecumseh and his relationship with the Prophet? Distancing himself? His sadness at the end, his farewell to Laura whom he loved, going north?

7.The Prophet, the rabble-rouser, the rebel? His followers, the attack on the Mac Gregor property? The deal with the British, arms? His raiding the town, becoming the chief? His defeat?

8.Shayne MacGregor? His role in the town, supplies, links with the British, the visit of the captains? His betrayal, the message to the Indians to attack? His saving his daughter from attack? His going with the troops? In the camp, Steve following him, the fight, the betrayal, the Prophet mistakenly killing him?

9.Laura, love for her father, work in the shop, growing up with Steve and Tecumseh, in love with Steve, the end and thinking her father was a hero?

10.Life in the American towns, the frontier, the pre-state territories? The role of the Indians? The role of the British? The aftermath of the 1812 war?

RELATIVE VALUES

UK, 2000, 87 minutes, Colour.
Julie Andrews, Edward Atterton, William Baldwin, Colin Firth, Stephen Fry, Sophie Thompson, Jean Tripplehorn, Stephanie Beecham.
Directed by Eric Stiles.

Relative Values is a later play by Noel Coward. From the 20s, Coward defined Englishness in his drawing-room comedies like Hay Fever and Private Lives. However, Coward had a wider range than this kind of play for which he is still famous. He wrote such plays as Blithe Spirit as well as The Astonished Heart. Coward also appeared in the war effort writing and co-directing In Which We Serve with David Lean and then collaborating with him for This Happy Breed and Blithe Spirit.

Coward also was a performer on stage, a prolific songwriter as well as an actor in a great number of films.

This is a soufflé, a story about snobbishness. American actress Miranda, played by Jean Tripplehorn, is moving from her boyfriend (William Baldwin) to Lord Marshwood (Edward Atterton). However, his mother, Felicity Marshwood (Julie Andrews) does not approve but is very ladylike in exhibiting her distaste for the marriage. Her companion is Moxie, played by Sophie Thompson, who, in fact, turns out to be the actress’s older sister. Stephen Fry appears as the butler. Colin Firth appears as a Noel Coward-like friend of the family and Lady Marshwood.

The film takes place over a short time, mainly at the Marshwood home, the preparations for the marriage, a meal in which many truths are exposed, a visit from the lovelorn alcoholic film star, the break-up of the marriage – and the possibilities of a happy ending, at least in a snobbish sense. The film was directed by Eric Stiles who made some serious and light dramas like The Dreaming of Joseph Lees and Miss Conception.

1.The work of Noel Coward, comedy, satire, verbal felicity, his irony, perspectives on society? The touch of the snob?

2.The title, the joke about family values?

3.The British setting, the country estate, the interiors? The film sets? The 1950s, fashions, styles? The musical score?

4.British attitudes of the 1950s, especially towards Americans, towards film, snobbery?

5.The attitudes towards the United States, the films, Hollywood stars, Miranda and Don and their performances, behaviour on set, style? Stars in real life, marriage break-ups, alcoholism?

6.The media, the focus on the marriage, the society columns? Nigel and Miranda, the fuss, the fans, the trip? The bond between the two? Miranda as a character, her career, the truth about her background, her deception? Ambition? Nigel, his snobbery? Miranda and her false story and its being exposed?

7.Julie Andrews as Felicity Marshwood, the Julie Andrews style, at home, Peter as adviser and friend, Moxie as the companion? The staff? Her views on Miranda, helping Don Lucas, advising him to stay? With the staff? Money, her manner, the meals, Moxie’s outbursts, keeping the calm? The frank discussion with Miranda, bringing Miranda and Don together? Nigel, at church, the possibility of another fiancée?

8.Peter, the Noel Coward character, his presence, observations, quips, his helping of Don Lucas?

9.Moxie, as a companion, in herself, the story of Miranda, the truth about their mother? The pretence, the drinks at the meal, her blunt outburst, Miranda’s reaction? Her wanting to leave? The discussions between the two sisters, especially the concern about the death of their mother?

10.Stephen Fry as the butler, his upstairs manner, gossip, knowledge of American films and things American? Downstairs talk, accent? His allowing Don Lucas to stay? His manipulation of situations?

11.The downstairs staff, listening in, the gossip?

12.Crises, the Girl Guides, the truth about Miranda, really in love with Don, Nigel and his having to accept reality?

13.A Noel Coward soufflé?

SEX AND THE CITY

US, 2008, 148 minutes, Colour.
Sarah Jessica Parker, Kim Cattrall, Kristen Davis, Cynthia Nixon, Chris Noth, Candice Bergen, Jennifer Hudson, David Eigenberg, Evan Handler, Jason Lewis, Joanna Gleason.
Directed by Michael Patrick King.

This is one of those highly anticipated blockbuster events that is review proof. Since the television series was so popular for five years and won so many awards, it had an enormous following worldwide. And the fans will be lining up for this film and, with its two and a half hour length, they can indulge in nostalgia and enjoyment. For those who have not seen the series and find themselves watching the film, the screenplay does its best to introduce the characters and fill in the background of how they got to this stage of their lives – but some audiences may find it difficult to sustain interest in these characters for such a long time.
The target audience is women and women who are middle-aged and older.

The emphasis is certainly on the city, New York. It is a star in its own right. This is where three of the famous four girls (now forty-something women) live while the fourth lives in (and criticises) Los Angeles.

The emphasis is also on the Sex of the title, but, compared with so many films, this is quite restrained with a few breakout moments to emphasise Samantha’s roving eye and appetites. In fact, by the end of the film, traditional values have been affirmed, especially as regards marriage and commitment – which may also help to explain its wide appeal.

Sarah Jessica Parker as writer, Carrie Bradshaw, produced the filmand carries the plotline with her voiceover and her own story being at the centre, the other women being supportive of her. She has been with the millionaire Big (Chris Noth looking like – and acting like – a latterday Victor Mature) – for ten years. The question of marriage arises but is waylaid for a time. Charlotte (who is prone to outbursts of laughter, excited squealing and eating only American made products during a trip to Mexico with dire stomach results) is happily married, has adopted a child and is pregnant. She (Kristen Davis) is able to say that she is happy every day. Lawyer Miranda (Cynthia Nixon) is married with a son but experiences betrayal and separation. Her story is the most interesting.

Samantha (Kim Cattrall) is living with what is generally called a hunk – who looks it but actually speaks and acts with more presence and sense than a hunk.

The story is slight as stories go. It is the girl-power in the friendship through thick and thin for so many years that is the core of the film. The other aspect is fashion, and even more fashion – glamorous clothes galore. Somebody remarked that one of the underlying principles of this kind of story is that ‘expensive is good’ – which will certainly irritate the more social-justice-minded amongst us. Which means that Sex and the City, despite its yearning for love and commitment, is a glossy would-be fantasy-fulfilment of the American dream.

1.The popularity of the television series? Its appeal? Its audience?

2.The series as a film, the running time, for fans, for others?

3.New York City and its gloss, homes and restaurants, fashion, the cityscapes, the musical score?

4.The women, their age, the introduction filling in the past, the situations, characters, in themselves, as a group, the bonding? Age and experience, marriage or not, sex and commitment, talk, chat gossip? Girl-talk like the discussions about waxing …? How serious?

5.Carrie Bradshaw, the voice-over, her telling the stories, her perspective?

6.The importance of fashion, clothes, expensive clothes, accessories, a consumerist mentality, a self-focused group?

7.The meetings, the talk, advice, sharing? Samantha and her life in Los Angeles? Visits to New York? Shopping, preparations for the wedding, the party, the experience of jilting, the group’s reaction?

8.Carrie’s story, as a writer, success, her books? Her relationship with Big? The past, sharing with him? The apartment, the new apartment and the visit, his buying it, the issue of the closet, his making a new one, the women helping her pack, moving, chat, with Big and the discussion about marriage, the agreement, the plan? The issue of the list, the helpers, the expanding list, the dress, Vogue editor and the photo shoot, the glamour of the shoot, the discussions about her life? The wedding, Big and his reaction? The night before, the party? Her being jilted and her reaction? The blame? Her weeping, going to Mexico with the group, sad, laughing at Charlotte’s accident? The return? Her relationship with the others, Miranda and the revelation of her secret, her anger? Miranda and her husband and Carrie telling her to get back with him? The chance meeting, with Big? Getting the secretary, the letters, organising her life, discovering the truth about Big’s messages? His being sorry, their getting together? The reasons or not for marriage? The registry office, their friends present, commitment?

9.Big as rich, silent, three times married, supporting Carrie, the agreement to the wedding, the preparations, cold feet, in the car in the street, his messages, the encounter with Charlotte and her attacking him, the meeting with Carrie, getting together again, the apartment, the closet, the wedding?

10.Charlotte and her husband, as characters, adoption, the Asian child, the family atmosphere, her becoming pregnant? Her attitude towards Big? In Mexico, the discussions about food, her accident? Her plan on meeting Big and cursing him? The water breaking, going to the hospital, Big and his helping out, her happiness with the baby?

11.Miranda and her work, strong, her son, bond with her husband, the lack of sexual engagement, her husband’s confession, her being hurt, moving out, with her son? Her hard line, his coming to the party, his pleas, his character? Gatecrashing, Miranda’s words to Big? Her not telling Carrie? The aftermath, in Mexico, feeling bad? Her husband’s attempts to reconcile, Carrie’s advice, going to the counsellor, their discussions, the plan to meet on the bridge, their meeting each other, reconciliation, forgiveness?

12.Samantha and her style, older than the others, her preoccupation with sex, her dialogue and innuendo, getting the dog – and the sex jokes? Los Angeles and her work, living in luxury? Her relationship with Smith? Going to New York, the many visits, the phone calls? Reassessing her relationship with Smith, the sushi episode, the phone calls? Her decision, breaking with Smith? Her neighbour, sexy, nudity, her refusing him? Her final decisions?

13.The world of these women, their friends, the gay friends, the Vogue fashion shoot …?

14.A glossy world, self-preoccupied, affluent, “Expensive is good” – but, with Samantha’s fiftieth birthday, an admission of age, reflection on life and marriage and commitment?

THE WOODSMAN

US, 2004, 87 minutes, Colour.
Kevin Bacon, Kyra Sedgwick, David Alan Grier, Eve, Benjamin Bratt, Michael Shannon, Mos Def.
Directed by Nicole Cassel.

The woodsman of the title is the man with the axe who frees Red Riding Hood after she has been devoured by the wolf. This is a film which is both realistic and asks us to use our imaginations in assessing the characters and their behaviour.

It is also a film which tackles a very difficult subject: the paedophile. Specifically, the paedophile who serves his prison sentence and then returns to the world where he has to find a place to live, a job and has to report to a psychologist to continue his therapy and is hounded by police acting as parole supervisors. Many will say that this kind of criminal deserves all that he gets or does not get. However, if a society is healthy, it can be judged by the way it treats its criminals, its humanity despite atrocity. While proper supervision that prevents the paedophile from re-offending is essential, how does he cope back in the world?

After the film is over, we realise that there are a lot of questions that were not answered. This woodsman has been in jail from age 34 to 46. How serious were his offences? What treatment did he receive in prison? How was he helped with his obsession? How deserving is he of audience sympathy?

As played with conviction by Kevin Bacon, he does elicit some sympathy. He is given a job because of his reliable past at work. One of the truck drivers takes a shine to him and she begins a relationship with him. When she discovers the truth, she has to make decisions about her feelings and her principles. This is especially the case after the secretary in the lumber yard takes a dislike to him and makes public his situation. The policeman who harasses him at home makes no attempt to disguise his contempt.

There are two dramatic complications for our emotional response. The first is that the woodsman sees a paedophile stalking young boys in the street below his apartment. What is he to do? Is the fact that he is concerned about the fate of the boys and acts on this enough to forgive him? On the other hand, the film also shows that the drives that made him molest young girls has not gone away despite the therapy. The scene where he meets a young girl in the park and befriends her and the crucial scene where he follows her with dangerous intentions make us wary.

Kevin Bacon is excellent in his role and is supported by his real-life wife, Kyra Sedgwick.

1. The impact of the film, the topic, public interest? Observation of a paedophile? Insight? Judgment? Compassion or not?

1.The Philadelphia settings, ordinary life, apartments, overlooking the school, work in the factory, the countryside? The musical score?

2.The title, the story told by Sergeant Lucas? The theme?

3.The credits, the introduction to Walter, the documentation, prison, parole, the time in jail, getting the job?

4.Walter moving into his apartment, the police and parole conditions, his visits to the therapist, talking, telling his story, being upset by the therapist? Calling him ‘doctor’? His aversion to writing the journal, his change of heart, the sequences of him writing, its effect? His past, his relationship with his sister when they were children, the sexual overtones, smelling her hair, the memories?

5.Sergeant Lucas and his three visits, the first very aggressive, the taunting of Walter? The second and the story of the woodsman? The third and seeking information about the man who was bashed, his injuries? Knowing that Walter had done this?

6.The factory, Walter silent at work, Mary Kay being friendly at the lunch, his snubbing her? His meals, defending Vicky? Talking with her, her offering him the lift, at home, the discussion, her wanting to know the truth, his asking her about the worst thing, her confession that she had a relationship with her best friend’s husband, feeling bad? Walter finally telling her the truth? Her reaction, questions? His wanting her to leave? Their scenes at work? Vicky defending Walter against the information made available? The criticisms of Mary Kay? The other people at work, the man and his attack, the job, the boss and his demands, control?

7.The relationship between Walter and Vicky, the audience sharing a sympathy for Walter or not? Her character, her stories about her brothers, their attacks on her, their respectable marriages and family, their defensiveness? The experience of being with Walter, the return, the drive? Walter and the decision to move in?

8.The window at the apartment, Walter watching the children, his following the girl into the mall and its effect on him, explaining it to the therapist, the therapist’s questions about how it felt? Meeting Robyn in the park, the talk about the bird-watching, his genuine smile? The audience understanding some of the feelings and attitude of Walter? Of the paedophile? The discussion about the birds, the investigation for Robyn to sit on his lap, her being upset, telling Walter about her father and his behaviour, Walter and his defence of her, letting her go?

9.The predator, picking up the young boys outside school, Walter watching, his anger after his experience with Robyn, his bashing the man? The later information about the man and his record interstate?

10.Carlos and his friendship, brother-in-law, coming to meet him, the talks, bringing back the table, discussions about Carla, her age, the birthday party, the photos and Walter not wanting to look? The estranged relationship with Annette? Her not wanting to meet him? The discussion about Carlos’s feelings, especially about his daughter, Carlos and his talk about women – and his anger with Walter? The final meeting in the park – and the audience watching but not privy to what was said?

11.The importance of understanding, the explanation of paedophilia, the past, Walter saying he’d not hurt anyone when he had molested them? Audience and the possibility of another chance? For work, relationships, life? Walter’s future, meeting Annette? With Vicky?

12.The need for this kind of story, especially in times when headlines highlight so many paedophilia and abuse stories?

TULPAN

Kazakhstan, 2008, 100 minutes, Colour.
Directed by Sergei Dvortsevoy.

Out on the windy steppes of Kazakhstan, poor herdsman look after black sheep, moving their family and their tent around as they look for grazing land. Young men cannot own their own herd unless they are married and settled. A young sailor, whose sister is married to a herdsman, wants to marry and work with the sheep. He is a touch garrulous (and his food-delivering friend is worse) when his family confers with Tulpan’s family to arrange a marriage. Tulpan remains in the tent catching glimpses of him, not liking him, especially his big ears!

This is not necessarily the stuff of great drama. Rather, it is something of an ethnographic story where audiences who might know of the country only because of Borat and the reactions about his film have an opportunity to immerse themselves in the land and the life of the people.

Not a great deal happens but we get a feel for the situations and the characters and – and this does sound a bit strange on paper but it works well in the film – there is a very moving sequence as the young man, wanting to get away, comes across a lost pregnant sheep who has begun to give birth but is in difficulties. We cannot help but become really involved as the young man works hard for the delivery and the young lamb emerges, finds its feet and its mother.

Some years ago there were two quite moving films from Mongolia, The Story of the Weeping Camel and The Cave of the Yellow Dog. Tulpan is very much in this vein of storytelling and emotion. Tulpan also won the Un Certain Regard award for best film, Cannes 2008.

1.A film from Kazakhstan? Its European flavour and the links with Russia? Its Asian flavour?

2.The Kazakhstan perspective, the landscapes, the desert, the herds, the storms? The musical score?

3.The ethnographic aspects of the film, work in the desert, the herds, the difficulties, the trucks and deliveries, the family tent and life in the desert, the boss, his decisions, the vet, the difficulties with the animals, the camels, the focus on the birth of the lamb?

4.Asa and his proposal? The formality of the families meeting, sitting and discussing, Asa and his chatting about the navy, the stories about the octopus? The parents and their not being impressed? Ondas and his presiding over the meeting? Boni and his chatter? Tulpan not appearing, watching, her not liking Asa, comment on his ears?

5.The portrait of the family life, within the tent, the wife, her cooking, her concern? Asa as her brother? The boy, running around, playful, riding the broom as a horse? The girl and her singing? The older boy, listening to the news on the radio, repeating it for his father, his father’s admiration? The mother, the milk, the cooking?

6.Ondas and his work, his difficulties with Asa, with Boni? The fights, the domination? The work?

7.The second attempt for the marriage, the return, the stories, the sitting? The reaction of each of the parents? Tulpan and her watching? Asa and his going to the tent, his declarations of love? Their discussion, Tulpan and her wanting to study? His wanting to marry, having a herd, giving her the opportunity for distance learning?

8.The dispersed sheep, Ondas’s concern? The boss’s arrival, the vet and his examination of the animals? The possibility of moving, packing up, Asa going with the group, his anger and decision to go by himself?

9.His leaving, going into the desert, the discovery of the lamb? His helping the sheep to give birth? Taking the lamb back?

10.The new era for the family, Boni and his talking, Asa and the possibilities of other work, going to the city? Boni and his listening to the music – ‘By the Waters of Babylon’? Asa stopping?

11.Asa’s return – the possibility of a marriage, the possibility of his being a herdsman?

12.The audience being taken into this part of the world, unfamiliar, learning and respecting the people, experiencing their hard life and work?

LA FRONTIERE DE L'AUBE (THE DAWN SHORE)

France, 2008, 106 minutes, Black and white.
Louis Garrel, Clementine Poidatz, Laura Smet.
Directed by Philippe Garrel.

Philippe Garrel has decided to tell a romantic, amour fou, story in the style of French film-making of forty years ago or more. It is in black and white, uses captions and dialogue that is ripe and sometimes melodramatic. Some French critics see it as poetic. Others were not so sympathetic, nor were non-French reviewers.

Louis Garrel, the director’s son, appeals to many audiences although his screen presence in such films as Dans Paris, Chanson de l’amour and even Bertollucci’s Dreamers, seems to be excessively passive making it difficult to empathise with his emotional life. Here he is a photographer who is smitten (though this seems more cerebral than feeling) with a moody and depressed married film star whom he goes to photograph. They love, they clash, she dies.

Two years later, he is engaged to an attractive and wealthy girl and is about to be married. The actress begins to appear in a mirror, a vengeful figure which a friend, quite rightly, advises him is his sub-conscious. However, it all builds up to a highly, highly melodramatic climax which seems more like a theatrical tragedy than real life.

1.The style of Philippe Garrel? Old-style film-making? Its impact?

2.Paris, apartments, the streets, the countryside and the mansion? The style of black and white photography?

3.The structure of the film: the focus on Francois, his encounter with Carole, their relationship, the breaking of the relationship? The year later, the relationship with Eve? The introduction of the ghost? The build-up to tragedy?

4.The style of the film, black and white poetic, the audience response – especially to the presence of the ghost? The musical score?

5.Francois, in himself, past relationships, working as a photographer, going to the appointment, meeting Carole, the entourage, the photo shoot? Her breaking it off? The next appointment, the work? The beginning of the relationship, the mad love? Francois and his giving himself to Carole? Her demands and moods? Going to London? Her meeting the actor and Francois’ suspicion? Her husband and the relationship, absent, his return from Los Angeles? Her deceit? The build-up to the relationship, the passion? Her depression, the break with Francois, her killing herself? Francois’ reaction?

6.A year later, Eve, a good young woman, the relationship with Francois? Her pregnancy? The engagement, going to the countryside, Francois meeting her parents, the family, the discussions with her father? Her wealth? The passion?

7.Francois, his feelings of guilt about Carole, her suddenly appearing in the mirror, her dire comments, the reappearances and the effect on Francois?

8.Francois, his friend, the advice about the subconscious, the appearances as his own feelings and trying to cope with guilt?

9.The preparations for the wedding, the day, Francois in his room, seeking Carole’s presence again, her demands on him, wanting her to be with him? His killing himself?

10.The impact of this kind of story and treatment on French audiences? French sensibility? Worldwide audiences?

ENTRE LES MURS

France, 2008, 128 minutes, Colour.
Francois Begaudeau.
Directed by Laurent Cantet.

Entre les Murs is a documentary at heart, but offers its audience a compelling narrative. Based on a book by journalist Francois Begaudeau and the experience of following a class through an academic year, the film recreates this situation under the eye of director Laurent Cantet who won multiple awards for his 1999 social drama, Resources Humaines and directed the film about middle age and finding one’s personal values, Emploi de Temps.

The children portrayed in the film worked with the director for the year. Most of the parents are themselves. The group workshopped the situations with the director, finding ways to express their characters, their frustrations, their hopes, for the film drama. Begaudeau himself plays the part of the principal teacher.

He teaches French and the screenplay gives a great emphasis to the meanings of language, asking the group to write their portraits (rather than their autobiographies) and finally gets them all to express something that they have learned during the year.

Francois is generally genial but has a tendency to irony if not sarcasm. He encourages free expression but is definite about decorum and discipline. He is not always in control and some of the students know how to be stubborn or manipulative. When he loses it later in the film and two girls report him for insulting them – he is critical of their behaviour at a staff meeting where they are the student representatives and their breaching confidentiality in letting students know about the discussions – he is in danger of losing his job. We see him in discussions with other teachers, with the principal and with the members of the Board.

The main drama concerns a student originally from Mali, Soulemayne, who has chips on his shoulder, is disruptive in class and is finally reported for suspension or expulsion. Decisions about Soulemayne are tests of how the audience would respond in similar circumstances.

Cantet captures a great deal of adolescent life even though the camera is confined to the school, mostly in the classroom. The film also raises many questions about the nature of education, the processes of learning, class management and discipline and issues of respect. Teachers and students at this age may find it invaluable for discussion.

Cannes 2008 Palme D'Or winner.

1.The impact of the film? Its winning at Cannes? Themes of education, for France, for world audiences?

2.The director and his films, social concern?

3.Francois Begaudeau, his experience, writing the book, adapting it for the screen, giving advice, acting?

4.The focus on the school, the classroom, the corridors, the staff room, the yard? The unobtrusive camerawork to give a sense of realism? The score?

5.The French title? The English title? The emphases?

6.The opening, the teachers arriving, Francois going to work, the group, the range of staff and their introductions, their reaction to the children? Their subjects? The principal? The drink and celebration for the beginning of the school year?

7.The corridor, the classroom, entering, the children mucking around, Francois and his explanation of fifteen minutes’ wasted time? Esmeralda and her questioning that it was not one hour?

8.The names of the children, on the desk, the reactions, the indications of rooms, students, discipline, difficulties? Francois and his talking, reasonable, regulations? The reactions and disobedience? Rebukes? Jokes, irony, arguments? The report book? The staff meetings? The principal and his role? Issues of expulsion?

9.Francois and his teaching French, the importance of language, the meanings of words, the tenses of verbs, the book about Ann Frank? The reading, the difficulties? The assignment of the self-portrait (rather than an autobiography)? Souleymane and his refusal, his taking the photos, the collage, Francois putting it on the board, commending his attempt? The debate about the African Cup and football?

10.The blunt questions from the students, the issue of homosexuality, the use of (in the translation) ‘skank’? The jokes?

11.The staff discussion, the concern about Wei and his mother’s deportation, the pregnant teacher and the toast, the arguments about discipline, the various stances? The young teacher and his outburst against the students? The meetings, Esmeralda and Louise as the student representatives, their fooling around and giggling during the meeting, the aftermath and their giving information to the students? The board, the procedures? Francois and his report, yet his plea concering Souleymane? The parents objecting to his presence at the board meeting? The vote?

12.The ending, Francois asking the children what they had learnt during the year? The differences? Esmeralda and her reading Plato? The girl who stayed back and said she hadn’t learnt anything?

13.The scenes in the yard, the playing, the fighting, jokes, the ending and the staff and students playing football?

14.Francois as a person, his experience, his strictness, what he permitted in class, jokes, irony and sarcasm, his demands for respect, his attitude towards the staff, Souleymane and the interactions, the insults, taking him to the principal? The argument with the two girls and his losing credibility? The effect, the rumours, the criticisms? The final sequence and everything back to normal, even Esmeralda joking about the insult? Seeing him with the parents – and his interest in the students and his concern at Parents’ Night?

15.The portrait of the students:
Souleymane as the main focus, from Mali, inability to write, sitting at the back, direct in his comments, the question about homosexuality, his insults to the others, especially the girls, his photos and the collage, the fight, his leaving the room, Francois taking him to the principal? The meeting with his mother and brother, his mother not speaking French, the discussions, the verdict – and his prospect of being returned to Marley by his angry father? The reaction of his mother after the meeting?
Esmeralda, cheeky, asking questions, moody, her questions about words, wanting to be a policewoman, as a representative, giggling at the meeting, the insult, her teaming with Louise, the yard argument with Francois, the end and her having read Plato?
Louise, representative, giving the reports to the other students?
Wei, clever, language, the mother’s visit, her being deported – but the end glimpse of her being with her son in the yard?
Khouba, her moods, refusing to read, giving the apology but not meaning it, the injury from Souleymane, saying she had learnt something about music and speaking in Spanish?
Karl, expelled, his own portrait, the fight, the clash with Francois, the discussions about football?
Arthur, the discussions about his Goth appearance, his being like his peers, rebelling against them?
Nassim, clever?
The range of other students, the particular scenes, their personalities?

OCEAN FLAME

Hong Kong, 2008, 130 minutes, Colour.
Liao Fan, Monica Wang.
Directed by Liu Fen Dou.

We are back in the world of Hong Kong gangsters, the film an opening with a prisoner being released, who goes to meet up with characters from the past, helping one to die, and searching for the woman who was the love of his life but whom he treated shamefully. The film is a long flashback about what brought him to prison and his loss of the woman.

However, the first scene is an enigmatic beach scene with a boy counting numbers out loud and running away. By the time we come to the end of this rather long film, we are back at that scene which now makes sense and brings the film to a sad, grim conclusion.

While this gangster world is related to what we know from other Hong Kong films, Ocean Flame (the title is obscure) is set in a different milieu, a world of bars, of prostitution rackets, of blackmailing victims. The central character is at home in this world, not working for the money but because he really likes it. When he comes across a young woman who works at a bar, he falls for her and she for him. But, he has little finesse in expressing his emotions. He is so caught up in his work and expose of philandering husbands and blackmailing them, that he is suspicious, subjects the woman to some sado-masochistic behaviour, forcing her to participate in one of his set-ups and refusing to rescue her.

The film builds to a sad climax and death and prison.

While the film seems to meander at times and be repetitive, it does come together at the end.

1.The title, the ocean at the beginning and at the end? The ocean sequences?

2.The Hong Kong background, the enclosed world of the central characters, opening it up at the sea? The musical score?

3.Yao getting out of jail, finding the man with the gun on the pier, encountering the beggar, cleaning him up, killing him? The irony of his being his friend? Going to the mother and son, the questioning?

4.The film as flashback, Yao’s story? Revealing himself, his evil, his relationship with Li Chuan?

5.Yao as a racketeer, the gang, the police watching, the relationship with Stick and the bashing at the bar, seeing Li Chuan at the bar – and her later returning to Stick? The set-up, working with his friend, the hotels, the blackmail of the men, his command of the girls, the money? The repeating of this kind of scam? His wanting to be a gangster not for the money but because he liked it?

6.Li Chuan and the bar, her attraction to Yao, following him, the beach sequences, the sexual relationship, the episode of being buried in the sand and getting out? His brutality towards her, her sensitivity? Yao using Li Chuan in one of his scams, the experience for her, her shock, his not rescuing her in time? Her leaving him, going back to him? His saying that he loved her – but only saying this because she wanted him to? Her despising of him? His friend, the support from the friend? The decision to marry the friend, the ceremony, Yao and his dancing, sleep – and not knowing what went on? His arrest?

7.The friend, his working with Yao, the scam, his relationship with Li Chuan, the bond with her, the other girls, the marriage, the night, escaping out the window, his injury?

8.Li Chuan and her motives for the wedding, going to Yao, killing herself in the bath, the blood?

9.The criminal world and the insights?

10.The mother giving the ashes to Yao?

11.His going to the beach, burying himself once again with the ashes, the boy counting? The full circle from the beginning of the film?

TIMBER FALLS

US, 2007, 100 minutes, Colour.
Josh Randall, Brianna Brown, Nick Searcy, Beth Broderick.
Directed by Tony Giglio.

It is not just because of timber being cut, but Saw and its dungeons definitely come to mind during the prologue of this version of the terror and torture genre. People trapped and imprisoned, gruesomely tortured and escaping (momentarily) set the tone for Timber Falls.

The West Virginia Tourist Bureau may or may not be pleased with all the attention the state gets in this kind of film. The scenery is beautiful (though much of this film was made in Romania) but the inbred inhabitants and their violence are something else.

As our central couple go hiking and don’t follow the ranger’s advice as to which path to take, they meet various characters who belie their appearances. It is always the initially nice who are the real villains. We anticipate the rest: capture, torture, confrontation, escape. The difference is the religious piety of the entrapping couple and some discussion about Jesus, God’s will and Judas as well as a violent antipathy to swearing. Unable to have their own child, they want a child conceived by a married couple – at any cost.

Probably a bit better than others of its kind because of the scenery and the acting is above par for this kind of film making the characters a little bit more interesting. But, it was made for, and will be appreciated by, only those who want to see yet another example of terror in the woods.

1.The popularity of this kind of Chainsaw Massacre genre? The couple camping? The capture? The sick locals? Torture sequences? Escape? The popular formula?

2.The West Virginia settings, the mountains and their beauty? The houses? The basement and its sinister lighting, contents? The musical score?

3.The prologue, the woman nailed and freeing herself, the man chained? Her escape, running through the woods, her death, the waterfall? Indication of things to come?

4.Mike and Sheryl? From Virginia, going hiking, the discussion with the ranger, his advice – and their not following it? The meeting with Ida, her friendliness and advice? The meeting with the group, their rough attitude, the drinking of the moonshine, the charging of fifty dollars? The leering attitudes? And the irony that they were not the villains?

5.The hike, camping overnight, the sinister person watching the couple in the tent? The morning, Sheryl swimming, her disappearance? Mike and his search, the encounter with the young men, the fight? His meeting Clyde, clearing the path, giving advice?

6.His being taken by Clyde? The house? The cellar, the foetuses? The mystery? His being bashed, saved by Ida, tending his wounds, getting the men away from the door? The reversal of roles?

7.Sheryl, her being captured, tortured? The film’s emphasis on torture? The graphic visuals?

8.The discovery of the motivation, Ida and her being religious, spying on the couple, forcing them to be married by her husband? Wanting a legitimate child? Pressuring Mike and Sheryl to produce the child? Torturing them till they did so?

9.The character of Ida, her religious background? Clyde and his righteousness? Especially about the swearing? The introduction of Deacon, his disfigurement, his history, his leering attitude towards Sheryl?

10.The progress of their being locked up, their refusal to obey Clyde? The continued torture? Sheryl revealing she was pregnant? The fact that the child was conceived outside of marriage? Ida’s reaction?

11.Sheryl’s parents, the reward money, the information to the men, their coming to the house, their being trapped and killed? Buried?

12.Evelyn the deputy, the search, the phone call?

13.The confrontation with Clyde and Ida, Clyde’s death? Ida and her torment, her death? Deacon and Sheryl’s attack on him?

14.A year later, the happy baby – and the unnecessary five seconds at the end indicating Deacon’s presence? A satisfying example of this kind of terror in the woods?