WHERE IN THE WORLD IS OSAMA BIN LADEN?

US, 2008, 90 minutes, Colour.
Directed by Morgan Spurlock.

Not only is it a good question, it is one of the main questions of the last seven years. The practical answer, if he is not dead or disabled, is that Osama is hiding in the mountains on the Afghan- Pakistan border and, on the evidence of images of the remote caves and their survival and aggressive contents, this is feasible.

However, Morgan Spurlock comes to the conclusion that many others have endorsed: it doesn’t matter. Al Quaeda set a movement in motion that has extraordinary and dangerous impetus despite him and/or without Osama bin Laden.

So, what in the world is Morgan Spurlock up to? One might say that he has a preoccupation with individuals and institutions of which it could be said, ‘they might be giants’. After his demolition job on McDonalds? and their supersizing (let alone the risk to his own health), he has done it again with the world’s most notorious terrorist leader (not without, again, risks to his own health and safety).

Spurlock has the great cinematic advantage that he comes across as a genial personality taking us into his confidence as friends. So does Michael Moore whose films are sometimes mind and emotions-boggling with their exposes. Morgan Spurlock is more humorous, even flip as he makes his points.

After some health testing and language and culture input, he sets off in his quest. In the background is his wife’s pregnancy and his promise that his journey will be over in time for him to be back in the US for the birth. This is a recurring theme throughout the film giving it some emotional and time urgency.

Off he goes to a range of countries (all listed like a video game or a catalogue on a TV game show, including a singing and dancing animated Osama bin Laden).

This is what is most interesting. Obviously, he must have hours and hours of material but Spurlock has chosen to offer samplings of people from each of the countries so that audiences will share his impressions. In Egypt, he interviews some Bin Laden relatives who are supportive of their notorious relation. In Palestine, he becomes as bewildered as most observers do about the plight of the Palestinians, many for peace, many not, with Israel. But, life in the Gaza strip can be bitter. In Israel, he meets people who know that the result will be two states but ponder the hardships to be endured before that happens. Some of the righteous Israelis do themselves no service in demonstrating their intolerant and potentially violent responses to the stranger filming in their midst.

In Afghanistan, Spurlock goes embedded with American troops. He goes into the dangerous mountain areas. In Pakistan, he interviews the widest range of people for reactions about terrorism.

Some commentators have sneered at the film for not offering anything new. They have misunderstood Spurlock’s intentions. He is attempting a personal cinema essay, especially for American audiences, that uses the lighter touch at times to highlight the issues, to show that many people around the world, Christian, Muslim or men and women of no religious faith, believe in peace and understanding – and that this is a goal for everyone.

1.The impact of the film? Audience interest in Osama bin Laden, terrorism, Middle Eastern countries and their attitudes? Islam? Extremism?

2.Morgan Spurlock, his reputation from Super Size Me, television programs? A genial personality, reporter, humorist?

3.The quest? Ambitious? Not expecting to find Osama bin Laden? Americans and foreign policy unable to find him? His comments about American movies and the lonely individual able to achieve this kind of quest?

4.The motivation, his training, languages, survival, information about Middle East countries? Medical information? The risks?

5.His wife pregnant, their relationship, wanting to be back by the time of the birth of the child? The contact throughout the film, giving some continuity? His return, the birth of the baby?

6.The animation, Osama bin Laden, animated, dancing to ‘You Can’t Touch This’? The computer game style, the return to the computer, the various countries listed?

7.Spurlock, to camera, his personality, humour, comments, banter, ingenuous? Asking the questions? Wanting to inform, especially, the American public?

8.The list of countries visited and the effect:
Egypt: the impressions, the country, bin Laden’s relatives, sympathetic to him? The opinion of ordinary Egyptians? Americans studying in Egypt?
Morocco: terrorism in Morocco, sympathetic people to El Qaeda?
The West Bank: His experience of the Gaza Strip, the Palestinians, their plight, the oppression of Israel, terrorism, the views of ordinary people, wanting the war to stop?
Israel: the man who said that it would end with two states but the difficulties in getting there, staunch Israelis wanting to stay in the West Bank, the area of Jerusalem with the orthodox, their evident hostility towards him and his camera, doing no credit to themselves?
Jordan: the neighbour, attitude towards Israel, Islam, terrorists?
Saudi Arabia: the contradictions in Saudi Arabia, strictness, the role of women, the princes and their wealth, terrorism?
Afghanistan, Spurlock going as an embedded journalist, the mountains, the caves, the plausibility of bin Laden being there, firing the rocket and his excitement?
Pakistan: talking with the ordinary people, their opinions of where bin Laden is hiding, their attitude towards peace?

9.The impression of El Qaeda, the members, bin Laden, terrorism?

10.Attitude towards foreign policy, American attitudes, President Bush, the invasion of Iraq, the war on terrorism, the post-9/11 mentality? The brief history of shoring up dictators who then were liabilities? The Shah of Persia, Saddam Hussein, the Taliban?

11.The possibility of finding bin Laden, whether authorities want him found or not, his not making a difference because of the terrorist movement in action?

12.Islam, the comments by religious Muslims, by religious Christians, the priest in Israel? The commonality? The desire for peace?

13.The effect of this kind of documentary, light touch, humour – but serious information, not wanting to be a deep exploration but informing people and changing attitudes?

MY FIRST MISTER

US, 2000, 100 minutes, Colour.
Albert Brooks, Leelee Sobieski, Carol Kane, John Goodman, Mary Kaye Place, Michael Mc Kean.
Directed by Christine Lahti.

My First Mister is directed by actress Christine Lahti. It is a strong film about adolescent alienation embodied by Lily Sobkieski very effectively. She is a lonely seventeen-year-old with a chirpy mother (Carol Kane) and a silent stepfather (Michael Mc Kean). Eventually persuaded to find a job, she encounters the manager of a clothing store in a mall, played very effectively and differently by Albert Brooks. Gradually they become friends and have an effect on each other. There is pathos at the end as it is revealed that the shop manager has leukaemia and is about to die.

Well performed, a strong performance by Leelee Sobieski contrasting with that of Albert Brooks who is usually far more ironic and deadpan. The screenplay is very direct and sometimes confrontative. However, it is an interesting example of films about adolescent alienation (and could be compared to the later Charlie Bartlett).

1.Americana at the beginning of the 21st century? The world of adolescents, alienation, family, loneliness, the contrast with age, business, illness?

2.The different Los Angeles worlds, homes, school, the malls, shops? Outside Los Angeles, New Mexico? The musical score?

3.The range of moods, with J, with R, the clashes, the alienation, change?

4.The title, J and her relationship with R? J and her look, age, voice-over? Her black clothes, the piercings, tattoos? Her mother perennially bright? Bob as silent? With her peers, not having any real friends, seeing herself simply as not a boy? Her room, sullen? Her father and his absence, her anger at him, going to see him and the clashes? The frustration? Getting the job, at the mall, going into the shop? Her fantasies and changing people’s appearances?

5.R, his age, appearance, manner, the shop, clothes, his initial reaction to J? Her return, his giving her the job, not wanting the piercings? Her transformation? Her mother admiring her in a dress? The tryout, the other members of the staff, the stacking room, her attempt to sell a suit to the man with blue eyes? Talking, the growing trust?

6.R giving J the lift, the café and her types, the different kind of music? The effect on J, liking R’s company, the outings, home, listening to each other’s music and disliking it, persuading R to have the tattoo and his wanting a very small one, the woman with the tattoos all over her and her head, the dares? Her changing? Her mother’s visit to the shop? The meals?

7.R and his friend, the nurse, J jealous, the testing of trust, hurt? R and going to the apartment, her looking it over, taking it? Telling her mother about moving out? The visit to her father? The issue of sexuality, the platonic friendship?

8.R’s collapse, in hospital, J upset? Searching for photos, for R’s wife? Going to Mexico, finding the son, his hostile reaction, not knowing about his father, his mother’s death and her silence? The drive to Los Angeles and their tension?

9.J and her visit to her father, his being a slob, manner of talking, his reaction? The later visit for the meal?

10.R and his friendship with the nurse, the sexual encounter, being caught by J and his son? At the hospital, the home meal, everybody at the table, commonality, the toast, cheerful, dancing? Her mother and Bob, her father and his girlfriend, R’s son, friend?

11.The effect of R’s death, the funeral ceremony, the aftermath? J and R’s son?

12.R’s life, closed in on himself, reading, quiet, disillusioned by marriage, not knowing about his son? Illness, change in possibilities? J's life and the potential for her funeral?

PAZAR – BIR TICARET MASALI (THE MARKET – A TALE OF TRADE)

Turkey, 2008, 93 minutes, Colour.
Tayanc Ayaydin, Genco Erkal, Hakan Sahin, Rojin Ulker.
Directed by Ben Hopkins.

Though written and directed by British Ben Hopkins, this is a Turkish film. It has won some top awards at Turkish festivals and national awards. However, while it has a strong flavour of Eastern Turkey and Azerbaijan, it has universal interest and appeal.

Hopkins directed the rather striking 19th century fable, Simon Magus. His output in the years following is not extensive and includes some low budget dramas and some documentaries. The idea for this film came from a visit to Moldava in the 1990s and an examination of how people survived with trade and the black market after the fall of Communism. However, there is no major film industry in Moldava. Hopkins visited Turkey and made a documentary in the Eastern region of the country. With the backing of Turkey's film industry and international help, he set his story in this Eastern part of Turkey, Kurdistan.

The film is brief but, with the location photography graphically showing the mountainous landscapes, the deserts and the villages, the audience will feel that it has visited this part of the world.

Mirham is a small-time fixer. Anything you want, he can find it and offer you a bargain. He is an independent, which irks the local black market mini-czar. He is married to a loving wife who sees the good man underneath the surface. He loves his little daughter and his wife is pregnant. Despite being a devout man who prays and visits his mosque, he drinks and gambles at cards.

When he undertakes a mission to buy children's medicine in Azerbaijan because the lorry carrying pharmaceuticals to the village has been hijacked, he takes it as a sign that he should become respectable and set up a shop for selling the coming mobile phones (this is 1994). The journey does not turn out as hoped for – but we see Mirhan in action, smuggling chemicals under his car, letting the border guard have a cigarette mini-bribe. He also engages the help of his old uncle.

The thing with Mirhan is that he has charisma, he is a charmer you can't help but like and hopes that he makes good. And his uncle is a great gentleman of the old school. Together, they keep us watching and hoping.

In the background, of course, are the pressures of capitalism (and some TV footage of how the mineral they are smuggling in Turker comes from exploited workers in Africa), the globalism of companies like those for mobile phones. And, there is the ever-present local corruption. Interesting, entertaining and thoughtful.

1.The title? The role of the market? Trade? Sales and dealers? Legitimate business, the black market, corruption? Globalisation?

2.The Turkish settings, Eastern Turkey, the towns, the dealers and robberies, the needs, the terrain and the mountains, the Azerbaijan border, Azerbaijan towns, homes and streets, cafés and hospitals, the borders? A sense of realism?

3.The stylised song, the introduction to Mihram? The song later, Mihriam sleeping, the end? The Ballad of Mihram?

4.The introduction: the factory, the bosses, the workers, deals, the wiring, the failure, the wire stolen, reselling?

5.Mihram as a personality, his charm, ability to sell, his gambling failures, losing, drinking with his friends, his love for his wife, daughter, her being long-suffering? The lack of money? At home, his hopes? The discovery about mobile phones? Needing the money, wanting to set up a shop? His visiting the building of the mobile phone towers?

6.1994, Turkey and change, commerce, mobile phone towers, the phones, the global companies, learning English? The smooth talk for salesmen? Mihram and his wanting to build a shop, Mustafa and his pressure to become a partner?

7.The doctor, the medicines stolen, the deal, the plan, getting the vehicle?

8.Going to Azerbaijan, smuggling chemicals, the guards and the search, the bribe of the cigarettes? Going to his uncle, his uncle’s personality, long history, being in Azerbaijan, a learned man, a good man? Going to the factory, the deal for the sale, the bargaining? The use of the chemicals – and the later information on television about the exploitation of Africa to get this chemicals?

9.The money, gambling, trying to be too smart, bashed and robbed in the streets?

10.Going to the hospital, the pharmacist having sold the medicine, his frustration, the treatment by the staff, his stealing the medicine? The escape? His uncle’s reaction? Going to other hospitals? The uncle discovering the doctor had died earlier?

11.The return home, Mihram and his hopes, Mustafa and his having stolen and bought the pharmaceuticals? The confrontation with Mustafa? Drinking, beaten?

12.The possible hopes, his wife and her continued support, love, pregnancy, the family? His uncle, a strong character? The possibility of setting up the mobile phone shop with the help of his uncle?

13.The title, themes of the market, globalisation, global forces, individual victims? Corruption?

LEGALLY BLONDE

US, 2001, 103 minutes, Colour.
Reese Witherspoon, Luke Wilson, Matthew Davis, Selma Blair, Victor Garber, Holland Taylor, Ally Larter.
Directed by Robert Luketic.

Legally Blonde was one of the surprise hits of 2001. It established Reese Witherspoon’s reputation as a strong comedienne. She followed this film with the sequel, Legally Blonde 2, a variation on the political aspects of such films as Mr Smith Goes to Washington.

Witherspoon plays the dumb (or rather ditzy) blonde who proves that she is not. Though she goes through life rather carefree, jilted by her boyfriend (Luke Wilson), she manoeuvres herself into Harvard Law School and by a series of coincidences as well as comic turns, she establishes some common sense behaviour in the law courts.

The film has a strong supporting cast including Selma Blair and a guest appearance by Raquel Welch.

At times the film is very funny, Reece Witherspoon’s performance is well worth seeing (and could be considered the brighter side of her performance in Election).

1.An enjoyable film, its popular success, the sequel, the Broadway musical? Elle as an icon?

2.The old-style chick-flick – and yet the parody of this kind of film, and yet its being endearing and Elle being endearing?

3.The colour style, fashion, college, Harvard, the courts? The musical score?

4.Elle and Reece Witherspoon’s screen presence, lively, self-confident, the blonde, alert, ambitious, glamour, her knowing everything about fashion, about style?

5.With Warner, in love, hoping for the engagement, chatting with her girlfriends, giggling, the discussions, the meal, the break-up, the reasons, her reaction, getting her hair done and a manicure?

6.Her decision to go to Harvard, her parents’ reaction and their comment about her beauty pageants? Going to the counsellors and bewildering them? The application, using the sex appeal, the board, their reaction to her, the decision? Their reasons? The grounds for getting into Harvard?

7.Going to Harvard, arrival, meeting Warner, his getting in, his parents pulling strings, his shock to see her there? His taking up with Vivienne – the type of wife he wanted for his career?

8.Her arrival, her dress and manner, attitude, with the other students, coming into class, the lecturer and her discussion about Aristotle, the young man and his emotionless reactions, questions? Her being ousted by Vivienne? Going to the group in the library and being rejected? Coming across the lawyer, chatting with him, his interest in her, helping, questions, change? Her developing her mind? Surviving? Being invited to the party, going as a Bunny, making good, making everyone happy? The reaction of the various groups, her being accused of discrimination and saying she never used the word “dyke”, her saving the dorkish man and reprimanding him for his dumping her and the girl’s reaction?

9.Vivienne, her background, knowledge, in class, with Warner? Snobbish? Her being humiliated by Callahan, getting the coffee? Talking with Elle, breaking with Warner, their becoming friends? She and Warner and the other assistants to Callahan?

10.Callahan, his lectures, Elle’s answers, his hiring her, getting Vivienne to get the coffee, Vivienne’s reaction, Warner not being asked? Elle and her talk, at the meetings, the lawyer and his advice? The case, the murder, the circumstances, the alibi – and Elle going to prison, discussing with the widow, the secret about liposuction and the threat to her career as a health guide, Elle keeping this confidential and refusing to tell anyone? In the court, the testimony of the pool cleaner, Elle realising he was gay, the lawyer, the questions, asking the name of his boyfriend and his saying it, the outburst in the court? The daughter of the murdered man, the discussion about permanent waves, the judge’s reaction, the lawyer’s, Callahan after his being sacked? The issue of the perm? The emergence of the truth?

11.Elle and her friendship with Paulette, their chatting, Paulette and boyfriends, going with Elle as a lawyer, confronting the boyfriend, getting the dog? Paulette and her falling in love with the delivery man, breaking his nose, their being together, in the court?

12.Elle’s achievement, the years of study, the lecturer and her praising her, the introduction to the valedictory speech, her success?

13.The postscript about what happened to everyone? Failures to get jobs like Warner, friendship with Vivienne, an engagement proposal from the lawyer?

14.A tongue-in-cheek presentation of the American dream – in what looked like the life of a bimbo but actually was much more? Stepping into the sequel?

CHARLIE BARTLETT

US, 2007, 97 minutes, Colour.
Anton Yelchen, Robert Downey Jr, Hope Davis.
Directed by Jon Pall.

There is a slyly humorous caption at the end of the credits, ‘No teenagers were harmed during the making of this film’. On the other hand, if looks or thoughts could kill, many of the main characters would not have survived the critical gaze of many an adult and parental audience.

It is one of those films that make a plea for understanding of teenagers when the teenagers, on the surface, don’t seem to deserve the understanding. But, by the end, lessons are learned and, once again, the worlds of high school and adolescence are not entirely without hope.

The strong centre of the film is young actor Anton Yellchin as 17 year old Charlie Bartlett. Expelled at the beginning of the film for forging driving licenses for his fellow students and charging well for them, he goes to a local high school where his blazer and tie appearance immediately elicit scorn and a toilet dunking by the school bullies – and the seeming indifference of the principal (Robert Downey Jr). Charlie is rich, is chauffeur-driven and is mollycoddled by his scatty mother (Hope Davis). Dad is in jail for tax evasion.

Charlie’s greatest desire (as the film’s opening fantasy of Charlie on stage being greeted by cheering peers) is to be popular. He has something of a gift for noticing people’s problems and, eventually, some empathy. This gets him into deep trouble since he invites one of the bullies (who has been low-esteeming his softer side) to partner him in selling the prescription drugs he has been given for his own concentration. While this creates literally rave responses, he still gets into trouble. However, he is the popular hero of the school – and has achieved one of his ambitions.

After the drugs, he then counsels students with problems (quite a long line) and can’t help himself in inviting adults to pour out to him. He is involved with the principal’s daughter which leads to his punching the principal, being arrested and the principal being fired because of demonstrations against surveillance cameras in the students’ lounge.

But, there is a moral to the story which nobody can disagree with: grow up (whatever your age is) and take responsibility for your own actions.

1.The variety of audiences for this film: adults, parents, teenagers and their peers? The effect on each different audience?

2.The world of adolescents, confusion? 21st century style? Showing the confusion? The behaviour of the students, their manner of speaking, self-esteem or not? The parents’ reaction, their ability to help their children or not? The role of school, the staff, the school principal?

3.How realistic was the film? How much fantasy?

4.The opening boarding school, the contrast with the high school, homes, the rich and the poor, the school, the toilets, the students’ lounge, the principal’s office? The musical score?

5.The opening, Charlie and his fantasy, everybody cheering, wanting popularity, his introduction of himself? Waking up, his silence, being expelled? The reason for the expulsion, the fake driving licences, his charging the students? His not needing the money?

6.His mother, the wealthy background, cars and chauffeurs, the wealthy home, playing the piano, the mother and her pills? Her letting her son off? Understanding him or not? The absent father, jail, tax evasion? Their both going to see him at the end? The possible reconciliation? Charlie having got rid of his anger?

7.Charlie going to school, the bus, the blazer and tie, the students’ reaction, Len and his friendliness in the bus, befriending him? Letting him sit next to him for the meal after everybody else left? Kip, looking at him? People laughing, the locker, Suzanne and her interest, the drama group? His going, his comic performance and audition, Suzanne laughing? The bullies, their attitude, in the toilet, his head down the bowl? Mr Gardner seeing him, seeming indifferent? His being bashed?

8.Mr Gardner, at home, with Susanne,her reaction to his presence, the small boat in the pool, at school, Charlie, the bullies? Assembly, the supervisor, the installation of the surveillance cameras? At home, his reaction to Charlie, the situations, the revolt? His handling of the situation, his being fired? Talking to Charlie at home, home truths for Charlie, Charlie persuading him to go to the play, his delight? His subsequently teaching and being happy with the students?

9.Charlie, coping, his ability at counselling people, Len and his threatening Murphy and the bullies, the friendship with Kip, Kip having no self-esteem, suicidal, the drugs? Murphy and the partnership, selling the drugs? The reaction and the rave parties? His popularity, the chant? Mr Gardner observing this? Mr Gardner and the drugs, his mother’s reaction, getting rid of them all? His going into counselling, the long queues, Kip and the focus on Kip and his suicide attempt, the note, Charlie visiting him, playing the games with him, his play, Mr Gardener permitting it to go forward? The girl and the football team, like a confessional, Murphy hearing, Murphy and his sensitive side, transforming his appearance, going on the date with her?

10.The protest, Charlie’s opinion and people wanting it, his telling them to go home, to come back at night? The riot? Charlie and Suzanne, punching her father? His being arrested, bailed out by his mother, his mother and her sense that she had failed him?

11.The play, Suzanne singing the song, the meaning of the lyrics?

12.The summer counselling job, the interview, Charlie offering to counsel the counsellor?

13.Charlie, an adolescent, seventeen, his own personal confusions, angers, hopes, ambitions, achievement? The role of his parents, teachers, peers?

THE AIR I BREATHE

US, 2007, 95 minutes, Colour.
Forrest Whitaker, Brendan Fraser, Andy Garcia, Emile Hirsch, Sarah Michelle Geller, Kevin Bacon, Julie Delpi, Clark Gregg.
Directed by Jeihi Lee.

Some interesting credentials, especially the cast. But…

There are four stories here, focusing on the lives (and some brief explanations from childhood) of four people whose lives and fate are interconnected. So far, so good. However, the first story, which focuses on a somewhat timid money manager, played by Forest Whitaker, who gambles on a tip and falls foul of gangsters, becomes highly melodramatic very quickly, before the air we breathe has had time to move through our system. The action at the end of this story stretches credibility.

Fortunately, in some ways, the next story slows us down to a more recognisable and acceptable pace. It is the story of a hitman who has a gift for seeing the future. He is an emotionless man who has had some influence in the life of the money manager. He is played calmly by Brendan Fraser, a man with a strange and violent calling but who lives by a code. He works for the gangster who is played in scenery-chewing mode by Andy Garcia.

The third story involves an up and coming singer, an emotionally fragile woman, played by Sarah Michelle Gellar. The gangster becomes her manager and the hitman her protector – and he becomes, as we knew he would, involved with her.

In some hospital scenes we have glimpsed a doctor, Kevin Bacon, who is the focus of the fourth story. He is desperate to find a rare blood specimen that will save the life of his scientist-friend, Julie Delpy, who has been bitten by a snake. Bacon gives an overwrought performance so that the final story – which reunites all the central characters becomes again too quickly highly melodramatic. And there are some time and continuity problems with the cross-cutting of the strands, as well as some stretches with coincidences, which leave us with some questions and puzzles rather than emotional satisfaction.

1.The impact of the story, the characters? The Asian background and the four aspects of humanity: happiness, pleasure, sorrow, love?

2.The short stories illustrating these aspects of life, the interconnection, dramatically, continuity, coincidences, credibility?

3.The drama and the melodrama? The rapid development of the first story? The heightened murder of the last story? Audiences being able to identify with the characters or not?

4.New York City, real and gritty? The musical score?

5.Happiness: the story, the child, study, the tracking shot of the various classrooms, to jobs? Unhappy? The money manager, the gangster coming in, his deposits, calm demeanour, the discussion about risks, investments? The advice of the gangster? Overhearing the workers, the tip, going to the betting shop, being persuaded to go higher with the bet, the race, the fall of the horse, complete loss? The interrogation, Fingers, his henchmen, the torture of the other man, the manager watching? Given a week to pay? Hurriedly packing, the gangster turning up, giving him the gun? The plan to rob the bank, his weak voice, getting the money, the escape, brandishing the gun, taking the bike, being hit by the car, going up to the roof, the helicopters, the police, throwing the money over the roof? His being shot?

6.Pleasure: the gangster, as a child, seeing the future, his friends, getting the job with Fingers, living by a code, emotionless? Fingers relying on him, confiding in him? The other henchman? The nephew, his arrival, the gangster looking after him, his showing off, with the girls, sex, gambling, tough with the protection racket and the old lady? The gangster and the old lady lying, catching her husband, threatening him? Fingers and his jobs? Giving the gun to the money manager?

7.Sorrow: Trista, the stage name, as a child, her ambitions, her father, becoming a star, her secretary, the tantrums, antagonism? The television interview and the hard TV questions, her wanting to walk out, her manager? The issue of her real name? Her losing her manager to Fingers, Fingers and his plan, the threats? The gangster and his hiding her, looking after her, falling in love with her? Her answering the phone, giving away the secret, trapping the gangster, his death? Her going on the road?

8.Love: the doctor, seeing him at work in the hospital, as a young boy, timid, waiting, the girl he loved? Friendship with Gina, her marrying? Gina and her husband, the discussion over the meal, the snakebite, the doctor frantic, intruding into the medicine room, seeing Trista on television, going to the theatre, causing a disturbance, seeing her at the car, the attack, the issue of her blood, her being in hospital, saving Gina’s life? Trista and her driving away in the doctor’s car, escaping, hitting the money manager, the money falling into her car, able to face a new life?

9.The portrait of characters, their interactions – how satisfying, intellectually and emotionally?

DESPERADO

US, 1995, 106 minutes, Colour.
Antonio Banderas, Salma Hayek, Joachim de Almeda, Cheech Marron, Steve Buscemi, Carlos Gomez, Quentin Tarantino, Danny Trejo.
Directed by Robert Rodriguez.

Writer-director Robert Rodriguez made an entertaining Meixcan western on a miniscule budget, El Mariacchi. He so impressed Hollywood that they have given him more money than he needed, Antonio Banderas as the new brooding Mariacchi whose gunfighter gymnastics would make Quentin Tarantino envious. In fact, Tarantino turned up for a day's shooting (in both senses) and delivers a marvellous parody of the bar conversations he did so well in Reservoir Dogs and Pulp Fiction. Steve Buscemi also does a parody of the kind of roles he plays in cult films. But after that, while the tongue might be in the cheek, it is all so over the top with shootouts that it moves from funny parody to the laughably absurd. Overwrought.

1.The career of Robert Rodriguez? El Mariachi, small budget, his reputation? Bigger budget, remake – with sequel?

2.The contemporary setting, Mexico, the towns, the homesteads, the streets, the cars? The contemporary feel? Yet the background of a Mexican western? The musical score, the mariachi and his music, with the little boy?

3.The opening, Steve Buscemi and his story to the bartender, the way of verbal storytelling? The climaxes, the tongue-in-cheek? The fear of the bartender? The other people in the bar? The flashback to El Mariachi, going into the bar, the confrontation with the bartender, searching for Bucho? The elaborate shootout? The final shooting of the bartender?

4.The violence, the western shootouts, the guns, machine guns? The visualising of the shootouts?

5.The desperado, El Mariachi, what he had suffered from Bucho, his search for him, getting Buscemi to find out where he might be found? The shootouts, the violin case? The music, with the little boy? Coming into the town, the confrontation with the bartender? The information about Bucho? The encounter with the knife-thrower, being wounded, Buscemi’s death? The knife-thrower’s death?

6.The encounter with Carolina, her position in the town, helping him, his wounds? Falling in love, the sex scenes? Credibility? His continued mission, her help? The finale?

7.Bucho, the drugs, his ranch, his henchmen, the brutality? His enmity with El Mariachi? Seeing him in action, ordering deaths? With Carolina, the relationship? The build-up to the final confrontation?

8.The background of the western types, Cheech Marron as the short bartender? The other men in the bars? The henchmen?

9.The Quentin Tarantino scene? Tarantino talk, his explanation of the story, the joke? The shootout?

10.Steve Buscemi, the cameo role, the comic storytelling – and his death?

11.Popular ingredients – and in the light of Rodriguez’s subsequent career, an exercise in film technique and genres?

PAZAR – BIR TICARET MASALI (THE MARKET – A TALE OF TRADE)

Turkey, 2008, 93 minutes, Colour.
Tayanc Ayaydin, Genco Erkal, Hakan Sahin, Rojin Ulker.
Directed by Ben Hopkins.

Though written and directed by British Ben Hopkins, this is a Turkish film. It has won some top awards at Turkish festivals and national awards. However, while it has a strong flavour of Eastern Turkey and Azerbaijan, it has universal interest and appeal.

Hopkins directed the rather striking 19th century fable, Simon Magus. His output in the years following is not extensive and includes some low budget dramas and some documentaries. The idea for this film came from a visit to Moldava in the 1990s and an examination of how people survived with trade and the black market after the fall of Communism. However, there is no major film industry in Moldava. Hopkins visited Turkey and made a documentary in the Eastern region of the country. With the backing of Turkey's film industry and international help, he set his story in this Eastern part of Turkey, Kurdistan.

The film is brief but, with the location photography graphically showing the mountainous landscapes, the deserts and the villages, the audience will feel that it has visited this part of the world.

Mirham is a small-time fixer. Anything you want, he can find it and offer you a bargain. He is an independent, which irks the local black market mini-czar. He is married to a loving wife who sees the good man underneath the surface. He loves his little daughter and his wife is pregnant. Despite being a devout man who prays and visits his mosque, he drinks and gambles at cards.

When he undertakes a mission to buy children's medicine in Azerbaijan because the lorry carrying pharmaceuticals to the village has been hijacked, he takes it as a sign that he should become respectable and set up a shop for selling the coming mobile phones (this is 1994). The journey does not turn out as hoped for – but we see Mirhan in action, smuggling chemicals under his car, letting the border guard have a cigarette mini-bribe. He also engages the help of his old uncle.

The thing with Mirhan is that he has charisma, he is a charmer you can't help but like and hopes that he makes good. And his uncle is a great gentleman of the old school. Together, they keep us watching and hoping.

In the background, of course, are the pressures of capitalism (and some TV footage of how the mineral they are smuggling in Turker comes from exploited workers in Africa), the globalism of companies like those for mobile phones. And, there is the ever-present local corruption. Interesting, entertaining and thoughtful.

1.The title? The role of the market? Trade? Sales and dealers? Legitimate business, the black market, corruption? Globalisation?

2.The Turkish settings, Eastern Turkey, the towns, the dealers and robberies, the needs, the terrain and the mountains, the Azerbaijan border, Azerbaijan towns, homes and streets, cafés and hospitals, the borders? A sense of realism?

3.The stylised song, the introduction to Mihram? The song later, Mihriam sleeping, the end? The Ballad of Mihram?

4.The introduction: the factory, the bosses, the workers, deals, the wiring, the failure, the wire stolen, reselling?

5.Mihram as a personality, his charm, ability to sell, his gambling failures, losing, drinking with his friends, his love for his wife, daughter, her being long-suffering? The lack of money? At home, his hopes? The discovery about mobile phones? Needing the money, wanting to set up a shop? His visiting the building of the mobile phone towers?

6.1994, Turkey and change, commerce, mobile phone towers, the phones, the global companies, learning English? The smooth talk for salesmen? Mihram and his wanting to build a shop, Mustafa and his pressure to become a partner?

7.The doctor, the medicines stolen, the deal, the plan, getting the vehicle?

8.Going to Azerbaijan, smuggling chemicals, the guards and the search, the bribe of the cigarettes? Going to his uncle, his uncle’s personality, long history, being in Azerbaijan, a learned man, a good man? Going to the factory, the deal for the sale, the bargaining? The use of the chemicals – and the later information on television about the exploitation of Africa to get this chemicals?

9.The money, gambling, trying to be too smart, bashed and robbed in the streets?

10.Going to the hospital, the pharmacist having sold the medicine, his frustration, the treatment by the staff, his stealing the medicine? The escape? His uncle’s reaction? Going to other hospitals? The uncle discovering the doctor had died earlier?

11.The return home, Mihram and his hopes, Mustafa and his having stolen and bought the pharmaceuticals? The confrontation with Mustafa? Drinking, beaten?

12.The possible hopes, his wife and her continued support, love, pregnancy, the family? His uncle, a strong character? The possibility of setting up the mobile phone shop with the help of his uncle?

13.The title, themes of the market, globalisation, global forces, individual victims? Corruption?

STATE OF PLAY

US, 2009, 127 minutes, Colour.
Russell Crowe, Ben Affleck, Rachel Mc Adams, Helen Mirren, Robin Wright Penn, Jason Bateman, Jeff Daniels, Michael Berresse, Harry Lennix, Josh Mostel, Michael Weston, Viola Davis, David Harber, Brennan Brown, Wendy Mackenna.
Directed by Kevin Macdonald.

There are any number of fine reasons for seeing State of Play. It is intelligently scripted and directed drama-thriller that is contemporary and relevant.

Adapted from a television series from the UK that was hailed as strong television, the screenplay has been adapted for a United States Congress plot (and other complications). It takes full advantage of DC locations.

The issues are particularly interesting: a congressional hearing on the plans and budgets for a private company to get contracts for all kinds of war needs, from arms to medical care, for Iraq and Afghanistan. The company is made up of former military men who are now virtually mercenaries. Huge money is involved.

A congressman, Stephen Collins (Ben Affleck in a role that suits his rather strong-jaw determined style of acting) is investigating the companies and their links to other contractors as well as their aims to privatise the conduct of war. His researcher is murdered as the film opens. Police investigate as does the Congressman's old room-mate and friend, reporter Cal Mc Caffrey (Russell Crowe almost imperceptibly immersing himself in his role). His publisher is an acid-tongued Helen Mirren. His associate reporter who comes from the paper's blog rather than the print media, but proves her skills, provides a substantial role for Rachel Mc Adams. There are fine supporting performances from Jeff Daniels, also a Congressman, and a particularly effective performance from an actor who has been lately showing versatile skills in Juno and Hancock, Jason Bateman. Robin Wright Penn is Affleck's wronged wife.

The action takes place over only two days which means that it keeps up the pace as step by step more details are revealed: other killings, a military assassin, a hospital shooting, press conferences by the senator, an interrogation of a sleazy PR agent (Bateman), information from an insider to the military company. And there are several plot twists that are not anticipated, at least by this reviewer.

This all means that we are intrigued by the plot and the craft (from former documentary director (One Day in September, Touching the Void) who made a welcome transition to feature films with The Last King of Scotland, Kevin Macdonald. We admire the acting. We are challenged to reflect on the consequences of the war on terror, the invasion of Iraq, the continuing action in Afghanistan – and, particularly, who profits the most from all the contracts? It would be interesting to read former Vice President Cheney's review of the film.

1.A contemporary drama? Relevance? Thriller?

2.The adaptation of the British television series? Transition to Washington DC? The issues of 2008 – Iraq and Afghanistan?

3.Washington DC as the setting: the city itself, the landscapes and cityscapes? The politics? The end of the Bush era? The wars, profiteering? Congressional hearings? Politicians, the role of the army, private companies? Corruption?

4.The Washington locations: the Capitol and the buildings, the Congress buildings, the streets and offices, the authenticity of the feel of the city? The musical score?

5.The opening, the thief, the chase? The shooting by Bingham? The man delivering the pizza? The girl watching? The role of the police? The hospital? The situation and the investigation? The police guarding the victim? The investigation and the clash with the reporters, the editors? The issue of evidence and making it available?

6.Cal Mc Affrey? Russell Crowe’s performance, screen presence? In the car, the slob, eating, singing? Ingratiating himself onto the crime scene? His methods? Getting the story from Donald Bell? The information? Taking it to the paper, discussions with the editor? The talk with Della and his fobbing her off, his attitude towards the blog? Cameron Lynne as publisher? His relationship with the staff? The office atmosphere? The authentic detail of a newspaper office and floor?

7.Sonia, going to the underground, her being killed? The Congressional hearing, telling Stephen of the news? His announcing it to those assembled? The questions of the company, the executive? The nature of the hearings? Sonia as chief investigator? Fergus and Andrew? Their demanding the truth from Stephen? His confession of the affair? The phone call to Anne? Anne talking with Cal? The meeting, the press conference, the advice to Anne to be dignified?

8.Cal, the information, leads? The background of his friendship with Stephen, roommates together, his relationship with Anne, the past? Talking with Stephen? The discussions with Cam, making the connections between the various deaths, speculation? A theory? Getting information from Anne? Getting Della involved in the investigation, the surveillance at the hospital, and her experience of seeing the killer, in the ward, the shootings and her being present? The death of the victim?

9.Fergus, his personality, his control, getting Stephen his job, Stephen indebted to him? Praising him? Cal and the confrontation, exposing Fergus as the link with the company? At the party, discussing Fergus’s relationship with Stephen, the recommendation of Sonia, the name of Sonia’s mother? The issue of Congress, payoffs and bribes?

10.Cam, tough, her admiration for Cal? The pressure from the owners of the paper? News, gossip? Her flying off the handle? Her pressure on the team? Their interactions? The discussions with the police, the lawyer, the issue of evidence? Wanting to print the story, under pressure? Waiting, listening? Her picture of a tough editor publisher?

11.Della and her investigation of Sonia, getting all the details of her life? Photos, goodtime girl? Cal investigating the dead man, at the morgue, getting the numbers from his mobile phone, Sonia answering the phone? The young woman, the soda, stealing his bag, taking him underground, the photos, the gun? Her being murdered?

12.Stephen and his keeping his poise, his relationship with his wife? His confession of his love for Sonia? The attack on the executive and his hard-hitting questions? The reaction of the newspapers? The girl coming forward, speaking of a threesome, wanting to smear his character? Cal and the investigations, inviting Stephen to the motel, his listening to what had been discovered, the attack on Dominic? His coming with Anne to confess the truth to Cam and the staff?

13.Cal and the insider from the company, the meetings, the information, the explanation about the company and the military, the training of the military and their retiring, being mercenaries? Patriotism? The name, Cal going to the hotel, seeing the killer? In the garage, the shooting, the group getting their vehicle, his getting away? The irony of the truth about the killer, seeing him in the photo with Stephen, the truth about his being hired by Stephen, his murdering Sonia? The build-up to the confrontation between Stephen and Cal, telling him the truth, phoning the police? Confronting the killer on the streets, the gun pointed, the police arrival, the shooting?

14.The background of the military, the training of the military, the mercenaries? Their patriotism? Their making money out of the companies?

15.Della, her personality, her work, the phone call in the night, going to look at the surveillance pictures, the discussions with Cal? Unearthing the information about Dominic? Her wanting to be present at the interview? With Dominic, with Stephen? Discovering the truth? The final story? The tape? Cal giving her the primary writing credit?

16.The resolution of the mystery, Stephen’s confession, Anne and the slipping of the information, her supporting her husband? Cal and his realisation of the truth, going to Stephen, in the office, confronting him, the breaking of the friendship, Stephen’s appeal? The police arriving for the arrest? The headlines?

17.The role of newspaper reporters, investigation skills, their egos, the evidence, their twisting the law for their purposes? Going over the bounds? Yet the checks and balances in their work, collaboration with the police, avoiding the police?

18.The strength of the film in the supporting cast: Anne, her relationship with Cal, with her husband, the separation, her asking Cal’s advice, the confession? Dominic, sleazy background, with the company, hiring Sonia? The encounter with Cal, his being abducted, the drinking, the interrogation, the taping? The killer, his friendship with Stephen, Stephen saving his life? His being hired, following Sonia, killing off those who would harm Stephen’s career? The police inspector, information to Cal, exasperation? The investigative team, the Laurel and Hardy style, fat and thin? Their skill at their work, collaboration? The doctor at the morgue, allowing Cal to get his information? Fergus’s assistant, his role in being a minder? An authentic atmosphere around the staff of Stephen and the people who worked in the Congress?

RAIN

Bahamas, 2008, 93 minutes, Colour.
Renel Brown, Nicki Micheaux, C.C.H. Pounder, Irma P. Hall, Calvin Lockhart.
Directed by Maria Govan.

You don't see many films from the Bahamas so this is an opportunity to visit the Caribbean islands and absorb some atmosphere. However, it is much more than this. It is an opportunity to share hardships and hopes of some of the people.

Rain is actually the name of the central character (Renel Brown), a young girl cared for by her grandmother (Irma P. Hall). On the grandmother's death, she has to leave her island and travel to Nassau to find her mother who is living in a squalid neighbourhood, works as a prostitute and has AIDS.

While the plot lines are familiar enough from other cultures, it is both interesting and emotional to see them played out here. The mother is a tragic figure, potential lost. Rain, like so many children of the next generation, has a great sense of integrity and is trying to learn how to deal with her mother. Her outlet is school – and friendship with a rather wanting-to-be-with-it girl in her class. Rain also has a talent. She is a potential running champion. This is recognised by the athletics coach (CCH Pounder) who fosters her development.

This kind of synopsis might make the film seem slight but the compassionate writing and the strong performances give it a vitality and value beyond its familiarity.

1.A film from the Bahamas? Distinctive? The settings? Culture and background? Issues?

2.The island, the sea, the beaches? Homes? Neighbourhoods? Squalor?

3.Nassau and ordinary life in the city, the Graveyard? Homes, school, the racing track?

4.The musical score, the songs, representing the culture?

5.The title, Rain and her background, her birth, the flashbacks, the storm and the rain, her mother alone? Giving her the name?

6.Her grandmother and her care for her, the grandmother’s religious background, writing the letter to her daughter – and the later reprise as her daughter read it? Her death?

7.Rain, her age, running along the beach, her grandmother’s kindnesses, delivering the food, running in the rain? Her grandmother’s death, preparing for the trip, on the boat, waiting at the wharf, her mother finally coming, walking to the house with her, her shock, the photo of her mother? The sandwich, settling in?

8.Rain’s mother, the background of her life on the island, with her mother, leaving home, prostitution, the birth of Rain? The other prostitute and her chatter in the house? Her clothes, provocative, with men, on drugs, HIV-positive, cutting herself and wanting to prevent Rain from touching the blood? Preparing the food? The school fees and her selling herself? Her illness? Miss Adams’ visit, the news about Rain’s ability as a runner? The touch of hope? Going to the steps of the police station, being taken in? Buying the runners for Rain? Supporting her daughter, going into rehabilitation?

9.Rain at school, the other girls’ attitude towards her, laughing at her? The severe teacher? Miss Adams and the uniform, talking to the teacher, telling her off? Training, Rain and her running, the discussions with Miss Adams, getting up at six am, the training, the girls taking her shoelaces, her ambitions and hopes?

10.The friend from school? Her wanting to be Miss Bahamas? Her size? The drugs, her attitude? Going to church, the denouncing of homosexuality, the friend and Rain walking out? The shop, her father giving the girl money? The assault, the girl helping her?

11.Rain, the physical assault, its effect on her? The man himself, religious language, infected?

12.Miss Adams, her work at the school, helping Rain, the training, talking about her own life, alienation from her father, her partner in the house, making choices? Her helping Rain, affirming her? Going to visit Rain’s mother?

13.The mother, the gift of the shoes, Rain, the race, her ambitions – but seeing her running into the sea? Symbolic?

14.The background of squalor, overcoming failure, potential?