EVE’S BAYOU

US, 1997, 109 minutes, Colour.
Jurnee Smollett, Meagan Good, Samuel L. Jackson, Lynn Whitfield, Debbi Morgan, Jake Smollett, Diahann Carroll, Vondie Curtis -Hall, Roger Guenveur Smith, Lisa Nicole Carson, Brandford Marsalis.
Directed by Kasi Lemons.

A story of the American south, of the African American south, not of poverty or oppression, but of more affluent and educated families and their problems.

Visually beautiful, the story is recounted by the ten year old daughter, with her limited understanding of her parents and their love and clashes, her love for her sister and the experience of betrayal, tragic violence. Actress Kasi Lemmons wrote and directed the film. It has a strong women's perspective which makes it different from other films, emotional as well as thought-provoking

1.The first film of the director, her skills? Acclaim for the film?

2.An African American Creole background in Louisiana, in the bayous? The film taking for granted racial issues and not emphasising them? The background of the French soldier, Batiste, his marrying Eve, the descendants?

3.The title, a backwater, the atmosphere of the South? How symbolic?

4.The beauty of the photography, 1962, the bayou, the mansion, the town? The musical score?

5.The introduction with Eve’s voice-over, the age of ten, killing her father, the memories? The effect on her?

6.The importance of memories, moving through time, past, present and future, Eve’s perspective? The perspectives of the other central characters? The use of the mirror for the past reflections? Magic and voodoo? The black and white touches? The impact?

7.The party, the introduction to the family, the members of the family? Status, affluence, the professional world? Yet their not having achieved as much as possible? In the backwater?

8.Eve and her sister, Cisely? A strong relationship, talking with each other, Cisely and their sexual experience of her father, Eve and her love for her father, Cisely’s talk, the suggestion of something incestuous? Eve going out, discovering her father with Matty? Her shock, the traumatic effect, finally being absorbed, some kind of understanding? The finale, talking with Cisely, some balance in her life?

9.Louis Batiste, as the local doctor, his skills? His relationship with his wife, their difficulties? With his daughters? His roving eye, his womanising with his patients? Cisely and her encounter with her father, her approach or his? His leaving the note, about Cisely’s approach? The issue of unconscious drives, of daughter, of father, mutual?

10.The importance of Aunt Mozelle? Her gift for foresight, her character, reminiscing, the bond with Eve, the memories of her husbands, the description of the tragic death of her second husband, the one who loved her?

11.Eve and her reaction to her father’s behaviour, her discovering some gift in herself, her dream about her uncle, his dying? Her going to Elzora, the voodoo background? The intentions for her father, thinking of his death?

12.The different members of the family, at the party, their characters, their roles, personalities, place in the town?

13.Matty, her husband, her relationship with Louis, her husband killing Louis?

14.A quiet bayou yet the perennial passions, problems, families, having to face them, having to cope?

15.The audience sharing the experience of Eve, of the family, of the town? Empathy with Eve, shock at her experience, understanding with her?

DAYTRIPPERS

US, 1996, 86 minutes, Colour.
Stanley Tucci, Hope Davis, Pat Mc Namara, Anne Meara, Parker Posey, Liev Schreiber, Campbell Scott, Douglas Mc Grath, Amy Stiller, Marcia Gay Hardin.
Directed by Greg Mottola.

Daytrippers is very funny in its modest way. A wife becomes suspicious about her husband's behaviour and tells her parents as well as her sister (whose fiancee is in town). Together they spend the day searching New York for him to confront him. On the way, they encounter a whole lot of entertainingly eccentric characters - and there was a twist in the ending that I did not foresee. Films like this depend on audience's liking for characters, for their idiosyncracies and amusing repartee and comic situations. Daytrippers worked well on all these levels. What a difference a day makes. Mottola later directed Superbad and Adventureland.

1.The acclaim for this film? Writer-director? The cast?

2.The trip from Long Island to New York City? A suburban road movie? Driving around Manhattan? The landscapes, the cityscapes? An authentic feel? The musical score?

3.The title, the reference to Eliza and her family? In search of the truth about Louis?

4.The set-up: the Malone family, Eliza married to Louis, his Italian background? The happy marriage, finding the love poem, Eliza’s doubts? Confiding them to her mother? The family going along for the ride to find out the truth? Credible – or as a sufficient basis for the comic behaviour?

5.Eliza, quiet, her relationship with her mother? The domineering mother, along the road, the spell on everybody, her exasperation, her making everybody exasperated? The contrast with her husband, the quiet genial type? The sister, Jo, going along for the ride, supporting her sister? Bringing her boyfriend Carl?

6.The adventures in the car, the interactions with each other, the revelation of character and idiosyncrasies? Jo and her love for Carl? Carl and his writing a novel, a Doctor Seuss for adults? The reaction of the parents to their children, the potential son-in-law?

7.The encounters along the way? The range of New Yorkers? Idiosyncratic? Discussions, humorous situations? The meeting with Eddie, a man about town?

8.Louis himself, not having much screen time, his dealings with Cassandra? The resolution of the problem, the truth about Louis? Reconciliation?

9.The action taking place within a day, the writer-director’s ability to bring out characters in humorous and sometimes absurd situations? An insightful film about human nature?

DOCTOR DOLITTLE

US, 1998, 86 minutes, Colour.
Eddie Murphy, Ossie Davis, Oliver Platt, Peter Boyle, Richard Schiff, Kristen Wilson, Jeffrey Tambour, Raven -Symone.
Voices of: Albert Brooks, Chris Rock, Rennie Santoni, John Leguizamo, Julie Kavner, Gary Shandling, Ellen de Generes, Brian Doyle -Murray, Jenna Elfman, Paul Rubens, Jonathan Lipnicki.
Directed by Betty Thomas.

Doctor Dolittle is a star vehicle for Eddie Murphy who was moving from serious/comic police roles to straight out family films (although they do have their touch of crudity and bodily function jokes).

The stories are by British Hugh Lofting but transferred to the United States and to the present. (There was a more British version of Lofting’s stories in 1967, a huge musical with Rex Harrison as Doctor Dolittle.)

The film opens with John Dolittle as a boy, his father (Ossie Davis) not approving of his pretending to talk to animals. Which he really does. He loses his gift but one day in an accident with a dog, is insulted by the dog, and gets his gift back. When he rediscovers the dog and starts to treat him, there are long lines of animals for treatment as the word gets round. His colleagues in the medical centre, which is to be bought by a corporation, become suspicious and have him put away. However, he vindicates himself, is a great favourite with the animals – especially a tiger from a circus who needs healing.

Eddie Murphy does this kind of role very easily. He has a good supporting cast including Oliver Platt as the head of the institution. However, it is in the large number of supporting actors who voice the animals where there is a great deal of humour, especially one-liners. Chris Rock, who tends to imitate some of the style of Eddie Murphy, is very good indeed as the hamster. Albert Brooks, always giving a touch of the mournful, also contributes to the humour.

Some have seen the film as very subversive, while there are jokes about fat people and others, it actually celebrates people being different, Murphy talking to the animals, treating them (even physically) as patients, as well as the unusual people who populate a circus.

The film was directed by Betty Thomas, who directs light films including The Brady Bunch, Twenty-Eight? Days Later and directed Murphy in the spoof I Spy? with Owen Wilson.

Doctor Dolittle 2 was released in 2001.

1.The popularity of the original stories? From the past? From Britain? The adaptation to the United States? Updated? More credible or not?

2.The tongue-in-cheek tone of the film, the what if…? component? Doctor Dolittle, talking to animals, animals speaking, animals needing medical attention, the way that they were treated?

3.Doctor Dolittle and his childhood, his relationship with his father, talking to the animals, his father’s severity? His place in the family? Believing his father, his losing his gift?

4.The older Doctor Dolittle, his relationship with his wife, the tensions when he works with the animals? His children and his love for them? Their helping him with the animals?

5.The accident with the dog, the dog’s angry reaction? Doctor Dolittle finding it later, taking it away, tending it?

6.The word getting round, the variety of animals joining the queue? The range, the humour? The importance of the voices – and the strong cast voicing the animals? Chris Rock and his humour as the hamster? The pathos with the tiger?

7.The institution, the worry about Doctor Dolittle? Doctor Weller and his concern? The contract for the selling of the centre? The executives and the businessmen? The pressure on the administration?

8.John Dolittle, interned, his getting out, the help of the animals? The hamster?

9.The tiger, the need for healing, the circus? His taking on the tiger – and everybody afraid? Healing the tiger? The return to the circus? The circus scenes – and enjoyment of the variety of performers at the circus?

10.The happy ending, the reconciliation with the family? His acknowledging his gifts? The animals and their treatment?

11.An entertaining film – the humour, bodily function humour and parents thinking it perhaps unsuitable? Yet the overall appeal to a family audience?

THE BRYLCREEM BOYS

UK, 1996, 107 minutes, Colour.
Bill Campbell, William Mc Namara, Angus Mc Fadyen, John Gordon Sinclair, Oliver Tobias, Gene Butler, Joe Mc Gann, Gabriel Byrne.
Directed by Terence Ryan.

The Brylcreem Boys is an unusual film for the 1990s – it takes up themes very popular in the 1950s in the aftermath of World War Two, especially prisoner-of-war camps and possible escapes.

This film is rather different, it focuses on an RAF pilot who is shot down at the same time as a Luftwaffe pilot who has been gunning for him. They land in Ireland? Because the country is neutral, both pilots are interned in the same prisoner-of-war camp. Gabriel Byrne is the commander of the camp, a more lenient camp than we are used to in the movies. It includes having day passes out – although, if they try to escape, they will be sent back to Ireland by their governments. The RAF pilot is a Canadian (Bill Campbell) and the German pilot is played by Scots Angus Mc Fadyen. However, of course, they both fall in love with the same girl, fight over her in a pub, are both put in jail. There, believe it or not, they resolve their differences. Miles is the winner in the love stakes.

Another prisoner is returned, Sam Gunn, played by William Mc Namara. He talks about the difficulties of the war, especially in Britain after the Japanese attack on Pearl Harbor. There is a breakout with the Canadian saving the German from a burning building. There is information at the end that most of the escapees were recaptured but the Canadian did get to England but died in battle.

The film attempts a re-creation of the period, some humour in the camp as well as some serious themes as well as the romance.

1.A film of the 1990s? Reminiscent of the films of the 1950s?

2.The Irish setting. The 1940s, the prisoner-of-war camp, the town, the local farms? The musical score and the songs from the period?

3.The plot twist: the RAF pilot, the Luftwaffe pilot, their fighting each other, shooting each other down? Landing in Ireland? Both in the same camp?

4.Miles Keogh, the Canadian, fighting for the RAF? His personality, style? His interactions with Rudolf von Stegenbek? The contrast between the Canadian and German styles? The day passes? Falling in love with Matty, meeting Matty, the fight with von Stegenbek? Miles and his apology to Matty, their night together?

5.Von Stegenbek, the German style, in the prisoner-of-war camp, his personality, meeting with Matty, falling in love? The fight at the pub, the jail sentence? Their discussions in jail, finding their common humanity? Von Stegenbek and the escape, Keogh saving his life?

6.Matty, working the farm, the Irish girl? Singing? The attraction for both men? Their fight? Her reaction? Miles’s visit, love?

7.Commandant O’ Brien, in charge, benign authority, his assistant? With the men, the rules? His final comments about the recapture?

8.Sam Gunn, in the camp, his escape, returned? News from the outside? Post- Pearl Harbor? The war effort in the UK? His influence on the Allied soldiers, their resolving to escape? The breakout?

9.The blends of humour and the serious? A memoir of the 40s, the war and the camps?

HOTEL DE LOVE

Australia, 1996, 96 minutes, Colour.
Aden Young, Saffron Burrows, Simon Bossell, Pippa Grandison, Ray Barrett, Julia Blake, Peter O’ Brien, Belinda Mc Clory, Alan Hopgood.
Directed by Craig Rosenberg.

A first film by Melbourne writer, Craig Rosenberg, that is romantic at heart (true love and commitment are important) but shows the comic side of confusion about love (and love at first sight) along the way. This is a film for 20 somethings, although there is a sub-plot about the central characters' parents, played by Ray Barrett and Julia Blake. Most of the action takes place in an extravagant, gimmicky hotel, where twin Aden Young is Manager and where twin Simon Bossell comes with their parents who are renewing their commitment (despite all bickering to the contrary). Comedy is often a matter of taste. Some have found this hilarious, some strained. I veered towards the strained. 20 somethings' comedy.

1.A “quirky” Australian comedy? The distinctive character of Australian humour, romantic, cynical, satirical? How well did they combine here?

2.The title, the romantic hotel, the variety of rooms? Niagara Smalls, the sports arena, the cheering crowds? The Garden of Eden, the fake foliage, the apple? The subterranean grotto? The piano and the songs and lyrics?

3.The romantic conceit: the twins, their falling in love with the same girl, the ten years passing? The remembering of love, the new opportunity? The happy ending for all?

4.Stephen telling the story at the airport, his waiting for Alison’s return? His own version of what happened?

5.Ten years earlier, Stephen and Rick, twins? Their distinctive characteristics? Stephen as the workaholic? Rick and his being less sensitive? The party, seeing Melissa? Melissa and the relationship with Rick?

6.Ten years passing, Rick and his working at the Hotel de Love? The manager? His girlfriend, Alison? Palm-reading? Reading Rick’s palm and telling him that he will break up, in fact with her?

7.Stephen, his ten years of hard work? His arriving with his parents? Jack and Edith? Thirty-two years, the scenes of their bickering? Edith with an admirer, writing notes? The revelation that this was Jack? Able only to communicate in writing, not by word of mouth? The plan for renewing their vows?

8.Melissa, arriving, her boyfriend, Norman? Norman and Melissa and their engagement? Their wondering about the marriage? Norman and his passivity? Melissa, meeting Rick and Stephen again? Memories of Rick, his stating that he was in love with her? Stephen telling her the same?

9.Melissa and Norman getting married, the failure of the marriage, the divorce, marrying Rick?

10.Stephen attracted to Alison, her having been at the party ten years earlier? Her decision to go to Spain? Stephen wondering whether she would return, meeting the planes? Her final return?

11.The engaged couple, their presence, in love, the contrast with Melissa, Norman and the brothers?

12.The piano player, genial, the songs, the lyrics, people asking his advice?

13.A satisfying romantic comedy – with Australian differences?

LOST IN SPACE

US, 1998, 130 minutes, Colour.
William Hurt, Mimi Rogers, Gary Oldman, Heather Graham, Lacey Chabert, Jack Johnson, Matt Le Blanc, Jarrod Harris, Mark Goddard, Edward Fox, June Lockhart.
Directed by Stephen Hopkins.

Not having seen the TV Lost in Space, I'm not sure now this blockbuster effects movie compares. The space family Robinson are involved in all kinds of technological wizardry, some dastardly doings from Gary Oldman's round-vowelled villainous Dr Smith and rely on gauche war hero, West (Matt Le Blanc).

There's some Star Wars battles, then some trekking, some space insects (small cousins of those in Starship Troopers), then some time travel twists and a lot of family bonding. It's not going to stay in the mind, rather it's a bit of space fun.

The Space Family Robinson.

1.The popularity of the television series? Its basic production values? Yet its exploration of space – at the time of Star trek?

2.The film and screenplay based on the classic tale of The Swiss Family Robinson, the contemporary Robinsons, lost on an alien planet?

3.The production values: the special effects, the production design? State of the art at the end of the 1990s? In comparison with the original television series? Special effects, stunt work? The musical score?

4.The criticism of the screenplay, ordinary, even banal? The performances – and trying to bring life to the screenplay? Corny lines? Gary Oldman and his being the comic villain?

5.The Earth in 2058, pollution, resources strained? Space exploration? Scientists, laboratories? Industrial espionage? The plan to relocate Earth’s people? The need for the Hypergate? The decision to send the Robinsons to build the Hypergate? The cryogenic system, the slow voyage of ten years to a planet? The base for the building?

6.The introduction to the family: John Robinson, professor, lectures, skills? Maureen and the loving wife, mother? Her scientific knowledge and background? Judy, her research, prim and proper, earnest? Penny, younger, mischievous? Missing her friends? Will, young, his scientific knowledge, his expertise during the voyage, especially with the robots?

7.The introduction to Major Don West, on flight patrols, saving his friends, the risks? Being interviewed by the general? Assigned to the spacecraft? His comments about Judy, her father’s sternness? On board, his work, skills? His interactions with Judy? The interactions with Doctor Smith? The hostility? His expertise, weaponry? Guiding the spacecraft? The crises and his contribution? The ending? A happy ending in space?

8.Doctor Smith, the sabotage? Gary Oldman’s performance? His bizarre dialogue? His sabotage and being caught? On the spacecraft? Clashes with those on board? With Professor Robinson? His being transformed, the other Doctor Smith? The spider? Their confrontations, destruction?

9.The planet, the older Will Robinson, his attitude towards his father, coming from the future? His being reconciled? Providing the means for the return to contemporary time?

10.The family interactions, functional, dysfunctional? The bonds between the parents? Between the children? Parents and children? The presentation of a wholesome family despite difficulties?

11.Earth, the general, his decisions about the spacecraft? The saboteurs, Edward Fox as the businessman? The children at school, June Lockhart as the principal?

12.A Saturday matinee kind of entertainment? The quality of the production yet the difficulties with the script?

PARPADOS AZULES (BLUE EYELIDS)

Mexico, 2007, 98 minutes, Colour.
Cecilia Suarez, Enrique Arreola, Luisa Huertas, Ana Ofelia Murguia.
Directed by Ernesto Contreras.

A small film about loneliness with two of Mexico's leading actors, Cecilia Suarez and Enrique Arreloa. It is a first feature from Ernesto Contreras and was written by his brother, Carlos, who took the idea from watching a television advertisement for a competition which had a trip for two as its prize and wondering what would happen to people who went on such a trip.

Marina is a loner who works in a uniform-making factory. She wins the annual prize of a trip for two to a Mexican beach resort but has no friends to ask to go with her. Her married sister wants her to hand over the trip to her (quite a harrowing scene) so that she and her wayward husband can mend the marriage.

In the meantime we meet a man, also a loner, who works in an insurance company, who is intending to buy an apartment. The two meet as the man remembers her from school days. She does not. When they go out, she impulsively invites him to go with her for the holiday.

Matters do not work out as we might have thought. They are attracted, perhaps a mutual dependence. However, they also cause pain to each other before a hopeful but uncertain ending.

Winner of the SIGNIS Award at Alba, 2008.

1.The quality of the film? A first film by the director?

2.The Mexico City setting, ordinary suburbia, workplaces, restaurants, apartments? The contrast with the beach resort? A feeling of realism? The musical score and the atmosphere for the two central characters?

3.The title, the symbol of the butterfly? The eyelids? The film within the film?

4.The opening, Lulita and her age, getting up, being made up? Her fictitious story about her past life, her father, her enterprise, the gift of sewing? The making of uniforms? The long decades of success in the garment trade? Her staff, the end of year speech? The prize? Marina winning it – and the glimpses of Marina, through the shelving, folding the uniforms, an isolated character, her surprise and delight?

5.Marina, living alone? Awkward and shy? Her winning the prize, the reaction? Her going to the travel agent, the conditions? Having somebody go with her? At home, not knowing who to invite? Phone calls, friends long gone? Her decision to ask her sister? Her going to visit her sister, the food? Her sister and the separation from her husband, demanding the prize for herself and her husband, her callousness and disregard for Marina’s feelings? Marina going home?

6.The introduction to Victor, his work in insurance, his visiting the house, Mercedes showing him over the house, trying to persuade him to buy, his budgetary caution? His not buying the house? In the restaurant, alone, his seeing Marina, introducing himself, the past, school memories?

7.Marina and her reaction, her admitting that she knew him when she didn’t? Her attraction towards him but her caution? The phone number? Her ringing him, his surprise? Their going out, her suggestion that he come on the trip, his acceptance?

8.The further outings, going to the film? The restaurant, their being moved from the table, his humiliation, outside, her wanting to leave? Their going home together, spending the night? Her rather formal manner in the morning, going to work?

9.The plan for the trip? Victor getting ready? At work, packing, the car? Her not being present?

10.Marina going on the holiday by herself, the explanation of all the benefits, being visualised? Her postcard to Victor, her apology, suggestion he meet her at the station?

11.Victor and his reaction to the card? His going, meeting Marina, in the car, the tension, his proposal? Their sitting in the car and the ending of the film? Certain or uncertain? The future?

12.The background of Lulita’s story, her maid, her ageing? The possibility that Marina could be like this in the future or not?

13.A satisfying drama? Presentation of lonely people? The possibilities of love despite the caution? The hopefulness of the film?

PARQUE VIA

Mexico, 2008, 86 minutes, Colour.
Nolberto Coria, Nancy Orozco, Tesalia Huerta.
Directed by Enrique Rivero.

Parque Via is the first feature-length film for Enrique Rivero. It is a multi-award-winning film around the world.

This is a very enigmatic film, quite slow moving, asking the audience to observe its central character – not necessarily empathising with him, but certainly being very much shocked at the ending.

Parque Via is a street in a fashionable part of Mexico City. Nolberto Coria portrays Beto, a retired man who is caretaker of an empty mansion which is for sale. There are attempts for the building to be sold but they fail. The building is owned by a wealthy woman who employs Beto. He lives a simple life in the house, we pay a lot of attention to the very small details of his life – especially at the beginning, following him through corridors and up several flights of stairs in a single take. He uses the services of a prostitute once a week – and is attached to her, getting her out of jail.

While the film presents the minute detail of Beto’s life and focuses on the visits of the senora to the house as well as his interactions with the prostitute, the film is a critique of Mexico and social strata, the gap between rich and poor…

Finally, almost inexplicably, when the senora collapses, Beto takes a shovel to her and bashes her. It is hard to know whether he has moved away to a comfortable house at the end or is actually in jail.

A disturbing, enigmatic allegory of Mexico.

1.The impact of the film? Slow moving, observing the character, the attention to detail, the shock at the end?

2.The many awards for the film? Appreciation in Latin America? Around the world?

3.The limited focus of the house and the exteriors? The senora’s house? The streets of Mexico City, the suburbs? The bar? The musical score?

4.The film as an allegory about class, poverty, wealth, brutality?

5.The portrait of Beto: with the washing, following him through the house, his room, the rituals of getting up, going to bed, keeping the house tidy, the garden? His age, retired, past life, his wife? His relationship with Lupe, her visit, regular? His helping her in jail? His friends? The visits of the senora, his deference to her? Her collapse, the shock of his bashing her with the spade? His motivations? The end, in comfort, a room of his own or a cell?

6.The senora, her age, wealth, reliance on Beto, the visits to the house, her wanting it sold? Her treatment of him – kind and haughty? Her collapse, audience reaction to her being bashed?

7.Lupe, at the bar, being available for dancing, the old men with their tickets for dances? Her going to Beto’s house, the relationship? Her arrest, release? Beto’s contact with her – and at the end?

8.The background characters, the children in the streets, the chauffeur, a sense of realism of ordinary people and Beto’s life in this context?

9.The overall impact and aftermath of the film, the seeming calmness and the culmination in brutality?

ENDGAME

UK, 2009, 90 minutes, Colour.
Jonny Lee Miller, Chiwetel Ejiofor, William Hurt, Mark Strong, Timothy West, Derek Jacobi.
Directed by Pete Travis.

A film about apartheid but this time a story behind the scenes.

Veteran writer, Paula Milne, has taken the story of Michael Young, an executive with a British company trading in gold in South Africa, who visited the country, heard stories of the exploitation of black Africans and the increasing violence of the police during the 1980s and decided to pursue talks for improving the situation in the country. He was commissioned to do this because of trade and profit reasons but, during a process which went on for several years, he became more and more personally involved and the issue became a cause.

After listening to a talk in London by Thabo Mbeki (who was to become Nelson Mandela's successor as president) and an appeal for money to talk – but this time for social justice – he make enquiries in South Africa and contacted an Afrikaner philosophy lecturer, Dr Willie Esterhuyse who agreed to participate in the talks. They were to be held at a secret location in Somerset. However, South African intelligence chief, Neil Barnard, became aware of the plans and urged the professor to act as an informer to P.W.Botha's government about the contents of the talks and the stances of the ANC.

The film takes its audience into the talks, to listen to the viewpoints of the ANC, the fears of the white South Africans if the blacks were to have power, the financial problems, the issue of terror (and the film shows an incident of a bomb exploding in a busy street) and the release of Nelson Mandela who had spent almost 30 years in prison.

While all the depths of discussions, prejudices and fears cannot be dealt with in a narrative film of 90 minutes, Endgame does a good job of communicating the key elements. Director Pete Travis has made some interesting docudramas and feature films that tackle controversial political issues and bring them to the screen in a vivid way that demands audience attention (Omagh, Vantage Point).

The cast is very strong. Chiwitel Ejiofor is Thabo Umbeki, William Hurt is the professor, Jonny Lee Miller is Michael Young, Derek Jacobi the company head, Mark Strong is the sinister head of intelligence who has to re-think policy quite pragmatically and Timothy West is a blustery Botha. Clarke Peters is Mandela, seen in prison on Robben Island, invited to discussions with government representatives and then in his final more comfortable prison home culminating in his release.

Now that the apartheid era is passing into history, films about South Africa serve as a reminder of that past. And this one reminds us of the power of talk, negotiation and possibilities for compromise for progress which is long and painstaking but can lead to change – as it did in South Africa, and even went further in truth and reconciliation.

1.The history of apartheid, the coming of freedom, now part of history? Films looking back on the era? Assessment and understanding?

2.The collapse of the apartheid system in the 1980s, the violence of the government, suppressing the blacks, the blacks and the possibilities of insurrection? Arrests and torture? The government, hanging on to power? The issues of trade and other nations’ support, especially the United Kingdom? Talks behind the scenes – and the accomplishment of peace by means of these talks? The repercussions of these talks?

3.The United Kingdom and South African settings? Official London, the house in Somerset, the grounds? The interiors for the talks? The South African countryside, Capetown, Johannesburg, other cities? Robin Island? The prison house? The ordinary streets – and the bomb exploding? The atmospheric score?

4.The introduction to Michael Young, driving in South Africa, the woman hiding him in the boot of the car, taking him into the township, getting him out, the talks, the young boy explaining the situation about his family’s deaths, the men attacking Young and his being rescued? His reporting to the head of the company? His role in the company? Seeing the signs of the times? The political and the social blended with the humanitarian?

5.The introduction to Thabo Mbeki? The talk in London, the plea for the British to consider their trade ties? Money talks – and money talking for change in perspective and government? Michael Young and his talking with Mbeki? Mbeki’s reaction? The character of Mbeki, his personality, the cigar, talking, his role for the ANC? In the light of his becoming president after Mandela?

6.The ANC and Oliver Tambo, in exile in Zambia, the policies of the ANC, the South African government’s attitude, seeing them as terrorists? Mbeki’s plea to the British that he was not a terrorist? The use of violence – and the stated policy of only using violence against military? Mandela in prison, almost thirty years? Mbeki and his role in international discussions?

7.Mandela, Robin Island, the many years, growing to be an old man? Work on the island? Interaction with the guards? The arrival of Doctor Niel Barnard? The reasons for his going to Robin Island? Political? Reporting to P.W. Botha? Botha as a bully? Botha spying through the cameras on Mandela? Resisting change, hanging on to power? His stroke? The treatment of Mandela, the invitation to discussions, the ANC wary? Barnard’s plan? Getting Mandela a suit to think he was actually in high discussions? Mandela’s shrewdness in knowing the truth? Barnard’s change, the moving of Mandela to a house, the comfortable house, the guard? The free celebration? The television presentation of his being freed? Sending the notes to Oliver Tambo and receiving them? Clarifying his role with the ANC?

8.Michael Young and his contacts, going to South Africa, going to the university, the lecturer? Listening to his presentations? The professor and his lecture on philosophy? His views on apartheid, talking with Michael Young, his family background? Barnard and his visit, wanting the professor to spy, to report to him? The effect on the professor, his decision to tell Mbeki, their walk in the grounds, not trusting the phone lines or the microphones in the house? The other members of the discussions, the Afrikaner sensibilities, the professor and his putting these forward? The phone message and the threats, his getting a gun?

9.Michael Young chairing the meetings, the range of opinions, the bonding between the members? The Afrikaner perspective? The stance of the government? The ANC and their perspective, agenda, demands?

10.Barnard and his character, the political background, with Botha, advising him, seeing the time for change, world opinion? The election of de Klerk? Not being able to see him? His finally ringing the professor to watch the television for de Klerk’s statement and the release of Mandela?

11.Oliver Tambo, his role in the ANC, in exile, his concern about Barnard’s tactics, discussions with Mbeki? The messages to Mandela?

12.In London, the company and its interest in gold, Michael Young suggesting de Klerk’s dissident brother as a member of the group? Somerset, the staff, the arrangement of the rooms, enabling discussions, walks? The professor and his discussions with Mbeki and their development?

13.The change of attitude? The fear of de Klerk, his brother not seeming helpful? The conservative stances, making his own decisions, not consulting with Barnard? De Klerk’s brother on the phone – his return to the meeting, the surprise of de Klerk’s conditions, ANC making concessions? The possibility for discussion?

14.De Klerk’s statement, 11 February 1990, the freeing of Mandela, discussions? The ANC and the Communist Party not banned?

15.The group, the amazement, their finishing the discussions, the congratulations? Michael Young and his achievement, the invisible man?

16.The information at the end of the film, the four years of negotiations, the 1994 elections, the professor as an adviser to Mbeki? Michael Young and his subsequent career?

17.The importance of a film like this, a glimpse of history, taking audiences behind the scenes, revealing that discussions can go on even if they are not reported? The extra information about the IRA consulting the ANC for the peace agreement? Hamas and the consultations with the ANC? A film of history, a film of hope?

TURNEJA (THE TOUR)

Serbia, 2008, 110 minutes, Colour.
Directed by Goran Markovic.

The Tour was Serbia’s official entry for the 2008 Academy Awards.

It is interesting to watch a Serbian film from the beginning of the 21st century reflecting on Serbia and its attitudes towards war, other Balkan states as well as ethnic cleansing. This film is antiwar. It is also very Balkan in its style, with strong and raucous characters, performances – with over-the-top situations and treatment. There is a certain raucous quality to so many of the characters and situations in Balkan films which can either attract and give vitality to an audience or else repel them.

A group of actors down on their luck are contracted to go to the front line to give performances. They are an odd group and the film spends time establishing their characters as well as the difficulties of their trip to the front. Once there, they are tricked into performing and giving the proceeds to charity. They also get caught up in the war, trying to avoid the politics, but getting caught by the Croatian forces, being forced to walk through minefields – with the situation then reversed and watching the Croatians having to walk through the fields. They put up a protest. They also encounter a journalist who is an extreme nationalist and who makes a very prejudiced speech towards the end. It is the Bosnians and the Muslims who are given the speeches of more control, reconciliation and peace.

The film is very emotional, is a blend of the serious and the comic – but is interesting to see as a perspective on the war in the Balkans in the 90s from a Serbian viewpoint.

1.The intention of the film? The writer-director and his play from the late 90s? Making the film for 2008 distribution? The hindsight on the Balkans wars? The message for the present?

2.The locations, Belgrade? The countryside, the villages, the war? The war action sequences? The ruined buildings? The arms caches? The musical score?

3.The basic idea? An antiwar message via the comic touches? How well did it work? For Balkan audiences – especially Serbs? For world audiences?

4.The focus on the group, their playing cards, the different personalities? The men? The women? The old, the young? The student actress joining the group? The director and his frustrations? The atmosphere of war, people not going to the theatre? Their losing their jobs?

5.The atmosphere of the theatre? The physical theatre? The theatrical behaviour of the characters? The agent, the offer for the tour? Their decision to go? Willingly and unwillingly?

6.The bus, the journey? The driver and his friendliness? The terrain, experiencing the ravages of war? The aftermath of the battles passing towns and leaving them in ruins?

7.Their arrival, the official, the welcome? The conditions? The audience? The people excited, the teacher and her rapturous response? The jealous official, worrying about his wife?

8.The performance, the choice of the plays? The staged atmosphere? The play and the response? People wanting to get in out of the cold?

9.The characters and their reactions to the public, the melodramatic actress, her disdain of the younger woman? The dressing rooms and the interactions? The men? The flirting man and his success with women? The older men? The actress and her relationship with the fat actor in the past?

10.The pressure on the manager to give the money to the charity? The reactions of the group? The public presentation, the nurse receiving the money? The official and his reaction – for his reputation? Later finding that he had been removed?

11.Their continuing on, the difficulties of accommodation, the hotels and their being booked out, their being moved on? The buses? Trying to find the driver? The practical difficulties of the tour?

12.The performance for the soldiers, their not really being interested, the heckler in the front row, his crude remarks and behaviour? The officials and their trying to control the men? The choice of the nationalist play?

13.Moving on, their venturing into Croatian territory? Their being arrested, interrogated? The Croatian speaker? The treatment by the officials? The minefield, their being made to go through it? Their being rescued by the Serbs? The Serbs making the Croatians walk through the minefield? The actors pleading their cause?

14.The encounter with the Bosnian Muslims? Their talk of peace, war, injustices?

15.The nationalist writer, his admiration of the group, his being with them, being captured? His racist and nationalist extremist speech? Reactions? The reaction of the Muslims?

16.The resolution of the various strands, serious, comic? The ultimate message?