ZHAN GU (THE DRUMMER)

Hong Kong, 2007, 118 minutes, Colour.
Jaycee Chan, Tony Leung, Ka Fai, Angelica Li, Kenneth Tsang.
Directed by Kenneth Bi.

With visual suggestions of symbols, mystic movement and dance, as well as drumbeats, The Drummer suggests a film exercise in Zen meditation. Then, it suddenly shifts to dance in a night club, flirting and drinking, sex and a world of gangsters and revenge familiar from so many Hong Kong films. Just when we were wondering what happened to the symbolism and whether we were just in for betrayals and shootings, the core meaning and drama of the film reveal themselves. The symbols and the drums return.

The son of a gang chief (Jaycee Chan), who enjoys playing drums in the club, has to take refuge in the mountains because a rival chief whom he has caused to lose face wants to cut off his hands. But, he hears drumbeats, a great variety of rhythms and beats and goes exploring. It is a troupe of drummers (who are also skilled acrobats) rehearsing before a world tour. This is a conversion experience and he dedicates himself to becoming a Zen drummer.

There are more complications with gangsters, double-crosses and the young man having to ask himself where the true course of his life is taking him.

The drumming is quite mesmerising as are the performances (one of which is a fantasy where the young man duets with his father). Whether the two genres combine well is still a matter of conjecture and taste. But, the ideas are very interesting and the drumming absorbing.

1.The Hong Kong atmosphere? For Chinese audiences? Western audiences?

2.Hong Kong, the city, the contrast with the countryside? The contrast between the gangsters’ world and the life and world of the drummers? Their intercutting?

3.The prologue, the drummers, the mystic sense, symbolism, Zen?

4.The quick transition to the nightclub, the contemporary drumming, flirting, sexual encounter, the girl and her relationship with Stephen Ma? The attack on Sid, Sid and his shaming Stephen Ma? His defying of his father? The confrontation, Stephen Ma demanding his hands? Sid’s arrogant response?

5.Stephen Ma as respectable businessman, gangster, well dressed, his henchmen? Sid’s father by contrast, rough gangster? Stephen Ma saving his life? The lieutenant, his care for Sid? The symbol of the cut hand?

6.The lieutenant and Sid, hiding in the countryside, going to the adult education class, stating their goals? In hiding? Sid and his arrogance with the girls in the street?

7.Sid hearing the drums, drawn towards them, listening attentively, the range of rhythms, the drums, the beat, the artists, their performance, acrobatics?

8.The woman in charge, accepting Sid, his collecting the stones, shaving his hair, training?

9.Sid and a conversion experience, the effect for him, for life, his skill in playing?

10.Sid’s father, gangster activity, going to prison, betrayed by the lieutenant? Sid being in charge or not? The murder of the father in prison? Sid and his shrewdness in assessing the lieutenant’s guilt, the accusation?

11.Sid getting the gun, vengeance, going into the woods, the shooting?

12.The performance with the drums, Sid playing with his father, his commitment to life with the drummers?

13.The girl, Stephen Ma’s mistress, relationship with Sid, lies, loving him or not, excusing herself, as a model, at the concert? Stephen Ma at the concert?

14.The transformation of Sid? The gangster world and the mystical world? Ethical issues?

LOS GIRASOLES CIEGOS (BLIND SUNFLOWERS)

Spain, 2008, 98 minutes, Colour.
Maribel Verdu, Javier Camara, Raul Arevalo.
Directed by Jose Luis Cuerda.

Though the screenplay declares that the Bible refers to those who walk in the valley of shadows as blind sunflowers, I couldn't guarantee to find such a text.

However, as explained, the sunflowers follow the sun which is there whether they see it or not.

Abridged from a well-known novel in Spain, this is a story of the Catholic Church in post Civil War Spain. Audiences who feel uncomfortable when they see life in seminaries in those days whether they approve of the methods then or not need to know that this is a story of a seminarian in 1940 (Raul Arevalo) who had been sent out during his study years to fight for Franco and who had executed the enemy as a duty. He is now a deacon and wondering about going on for ordination because, while his military years might have told him something about himself and his capacity for violence, it seems he has completely underestimated or repressed his sexuality. He is now tempted by lust and soon tormented as he is sent by the rector to teach in a school, to confront his demons rather than thinking he can take safe refuge behind seminary walls.

When he is beguiled by an unwitting mother of a student, he rationalises his behaviour, harasses the woman, eventually causing woe to her and deceiving himself.

The Civil War background of the film consists in this non-religious family where the free-thinking father is hiding in the house in danger of police intervention.

With Maribel Verdu (Y Tu Mama Tambien, Pan's Laybrinth) as the mother and the versatile Javier Camara (Almodovar's Talk to Her and Mal Educacion) as the father, this part of the film builds up dramatic tension.

However, the film is an exploration of self-deception, the deacon creating his own imaginative version of his conduct where the mother is completely to blame and, despite the questioning by the rector, he accepts no guilt whatsoever.

Not necessarily to the taste of the general public but, in these years of examining the behaviour of priests and their training, an intense look at the sexual conflicts of those who follow a priestly vocation.

1.A Spanish drama, Spanish history, the civil war, fascism, anti-Catholicism, the church, priesthood? A valuable exploration of these themes?

2.The 1940 setting, the town, the streets and their feel, homes, the seminary, school? Costumes and décor? Score?

3.Audience knowledge of the civil war, attitude towards Franco, towards the church?

4.The introduction to Salvador: praying in the chapel, going to see the rector, their discussion, his history in the civil war, military service, loyalty to Franco, executing people? His vocation, the questions, being a deacon, looking forward to ordination? The vow of chastity and the test? The language about the Devil, temptation? The rector urging him to confront his problems?

5.Transferred to the school, teaching, the theatre, the children, the staff, the eccentric rector?

6.Elena and Lorenzo, at school, Salvador and the sexual attraction, talking to the rector? Blaming Elena? Describing her, his experience? The rector talking about lust? Salvador seeing himself as the victim? His being urged to confront the Devil, not to be afraid, not to seek sanctuary in the seminary?

7.Elena and Ricardo, Ricardo and his past history, reputation, Mason, free-thinking, professor? Hiding in the house? Feeling confined and constricted? His love for his wife, her helping him? The communist and anticommunist background? The daughter, her pregnancy, leaving with the poet, going into the forest? The daily routines in the house? Ricardo and his translations? Elena taking them to the publisher?

8.Salvador and his attempts to meet Elena, Elena hurrying away, his following her, enquiring why she went into the building, his excuse about going to the dentist, offering her the ice cream, talking about Lorenzo and vocation, rationalising his situation?

9.Elena and her husband, Ricardo’s despair, the police and their visit to Elena, taunting her about her husband, infidelity…?

10.Salvador and his visit, the cup of coffee, finding the razor, Elena explaining about shaving legs, his holding her, his desire?

11.Elena and the tonsillitis for Lorenzo, the excuse, the planning to leave the town? Packing, arranging the books, trying to give them away? The news of the death of their daughter, of the husband? The audience seeing the childbirth, Elena’s death, the milk, the cow and its death, the poet and his being shot?

12.Life in the school, the superior and his shrewdness in assessing Salvador, his excuses, the superior’s demands?

13.Salvador consumed by his obsession, his putting on his military uniform, confronting Elena, the assault, Lorenzo coming in, Ricardo emerging, Salvador and his calling out that there were communists, Ricardo and his farewell to Elena, throwing himself out the window? Lorenzo and his reaction?

14.The final talk to the rector, confessing, fabricating a story, Elena as Eve, Salvador completely blaming her, she being the temptress? The rector asking him about whether he was in any way responsible? His denial? Denying that he was to blame for Ricardo’s death? The issue of his vocation, the heavy penance? His future?

15.The exploration of vocation, religious motivation, self-deception? The title, the biblical explanation? The sun shining, God’s presence – even if the sunflowers do not see it, yet they follow the sun?

THE WITCH OF THE WEST IS DEAD

Japan, 2008, 116 minutes, Colour.
Sachi Parker, Mayu Takahashi.
Directed by Shunichi Nagasaki.

The Witch of the West is Dead seems an odd translation for a Japanese film – although there is reference to the witches of The Wizard of Oz.

However, witch in this context means a genial sage, personified by the grandmother in the film (played by Shirley Mac Laine’s daughter Sachi Parker).

The film focuses on a fourteen-year-old girl who is unable to stay at school because of pressure against her from cliques of students. She cannot communicate with her mother, a career woman, and her father who lives apart. She goes for a summer to stay with her grandmother, experiencing nature in the countryside, listening to her grandmother’s wisdom, encountering the people who live outside the cities. She takes a set against one man which leads to a climax and a confrontation with her grandmother about kindness and consideration.

The film is beautiful to look at but is extremely slow-moving. Clips would be very helpful for girls of this age to ponder the questions that they ask. Significantly there is a long sequence where granddaughter and grandmother discuss the nature of body and soul, the nature of death, afterlife. There is also a strong discussion between them about control, consideration for others.

The film is more of a festival type of film – and the slow and measured pace may make it difficult for the audience which is its target to watch.

1.The film based on a children’s novel? The target audience, girls, their parents, teachers?

2.The pace, slow, measured? Visual beauty, verbal strength? The body language of the characters? The communication of a child’s world and perspective?

3.The Japanese setting, the house, the woods, rugged beauty? The musical score?

4.The title, witches in Japan, the sage woman, the reference to The Wizard of Oz, the final caption from the grandmother, the sign of the afterlife and her voice?

5.The introduction to Mai, her voice-over, explanation of the situation, travelling with her mother, her mother weeping, going to the grandmother, her telling the story?

6.The flashback to Mai’s stay with her grandmother: her age, her parents separated, her loving both parents, not wanting to go to school, the later explanation to her grandmother about the cliques and her exclusion? Her love for her grandmother, her room, the bond between them, sharing, feeling loved? Their discussions, wisdom, the nature of the witch and her control? The work, vegetables, flowers, the garden, the chickens? The postman and the other people who arrive and are living nearby? Isolated? Genzi and her dislike of him, his reticence? Her discovering her sanctuary, feeling that he had intruded? Her development over the months, the reflective talk, the issues of body and soul, experience, death? Her outburst against Genzi, her temper? Assessing her grandmother’s lack of control, the slap? Her father’s visit, leaving with him, refusing to respond to her grandmother? Two years later, her realisation of how she had behaved?

7.The grandmother, the English background, her story, teaching in Japan, marrying the grandfather, teacher and geologist? Her age, widow, wisdom? Living alone, the dowdy clothes, the cooking, preserving the fruit, the gardens, the chickens? Her kindness towards Genzi? Her love for her daughter? The good advice for Mai, her reactions, patience, the issue of souls, witches? Her final message?

8.The mother, her life, career, separated from her husband, the father, his coming to get Mai? The return and the mother’s grief at her mother’s death?

9.Genzi, simple, the kindliness of the grandmother, his going into the sanctuary, Mai’s dislike and anger with him? At the grandmother’s death, his courtesy towards her, his offering to help Mai?

10.Themes of death, traditions, grief? The final message and hope?

THE KILLERS

US, 1946, 103 minutes, Black and white.
Burt Lancaster, Ava Gardner, Edmond O’ Brien, Albert Dekker, Sam Levine, Vince Barnett, Virginia Christine, Jack Lambert, Charles Mc Graw, William Conrad.
Directed by Robert Siodmak.

The Killers is based on a short story by Ernest Hemingway. The short story focuses on the unexpected death of a man for no seeming reason. Anthony Veiller (who won an Oscar nomination for his screenplay) develops the Hemingway story, exploring why a man might be prepared to be executed by gangsters.

The film structure is complex, beginning with the killers of the title (Charles Mc Graw and William Conrad) searching for Swede Andersson. He is played by Burt Lancaster. He seems willing to be shot by them. Because of an insurance connection, the investigator (Edmond O’ Brien) begins to piece together the story of Swede Andersson including his being a boxer, caught up with a femme fatale, Kitty Collins (Ava Gardner), involved in a jail sentence, an armed robbery. The film has a series of flashbacks as particular characters are able to remember and identify aspects of Swede Andersson’s life. The film builds to a climax with a confrontation between the investigator and the mastermind of the robbery (Albert Dekker) and the deceptive role of Kitty Collins.

This was Burt Lancaster’s first film and he made a striking screen presence and continued for over forty years as a top star. This was an early Ava Gardner film and she shows the strength of her beauty and presence, even as a femme fatale, skilled in deception. Edmond O’Brien? makes a solid investigator.

The film was directed by Robert Siodmak, German-born, who made films in Europe before coming to Hollywood and in the mid-40s made a series of striking films including The Spiral Staircase, Criss -Cross, The File on Thelma Jordan. In his later years he made more films in Germany.

The film was rewritten and remade with the same title in 1964, the first of the Universal telemovies but released in cinemas in some areas. It was directed by Don Siegel and changed the plot of the film where the killers themselves (Lee Marvin and Clu Gulager) investigate who hired them to do the murder (of John Cassavetes). Ronald Reagan and Angie Dickinson take the roles of the heavies and the deceivers.

1.The film and the post-world war film noir, this film’s contribution? Crime, betrayal, the femme fatale? The black and white photography, light and darkness, shadows? The film’s reputation?

2.A film of the 40s, the dates, the events? Post-war United States?

3.Black and white photography, light and shadow, the editing and pace? The musical score, the songs?

4.The structure, the basis on Hemingway’s story, the additions, the puzzle, the detective work, the build-up of the flashbacks?

5.The killers of the title, the initial going to the diner, talk, tying up the men, getting the information, going to the house, killing Swede?

6.The introduction to Swede, his willingness to die, fatalistic, his blaming himself for the past, the puzzle about his life and death?

7.Riordan, the insurance investigation, the handkerchief, the search, his secretary, gaining the information, his boss allowing him to pursue the investigation, a quest?

8.The garage attendant, friendship with Swede, trying to investigate his motivation, his quiet work at the gas station? Riordan and his friendship with Sam Lubinsky, their working the investigation together?

9.The landlady in Atlantic City, Swede’s attempted suicide, the presence of Kitty, her kindness to him – and his bequest to her in his will?

10.Swede as a fighter, the hard knuckles, the trainer, Lily and her support, going out, Colfax and his party, meeting Kitty Collins? Lily and her edginess? Lily and her love for Swede? Her marrying Sam? Swede and his fights, the trainer? His broken knuckles and his defeat? His having to leave the fighting business?

11.The nightclubs, Colfax’s group, Kitty, her singing, friendly, Swede and his attention to her?

12.Kitty, the incident of the brooch, the jewellery, the accusations against Kitty, Swede and the fight, accepting the guilt, going to jail for her? Her not contacting him?

13.Charleston, his evidence about Swede in jail, a good man, in the cell, their talk, philosophising, the stars?

14.Swede getting out, the new encounter with Kitty? Colfax a group, the plan for the robbery? Charleston not wanting to be in it? Swede accepting it?

15.The picture of the robbery, the planning, the detail, the shooting?

16.The double-cross, Swede coming, stealing the money?

17.Blinky and his attempt to confront Swede, wanting to get the money, his being shot, in hospital, his ramblings, Riordan listening to him, his revealing the robbery?

18.Dum-Dum, his part of the plan, shooting Blinky, wanting to get Swede? Wanting the money? His confrontation with Colfax and his death?

19.Riordan, his questions, visiting Colfax and his prosperity in Pittsburgh, tracking down Kitty, her making the appointment? His leading her on?

20.Meeting Kitty, the killers in the diner, Sam and the shootings, the killers killed?

21.The Colfax house, Dum-Dum’s? death, Colfax and his being shot, revealing the truth, the set-up, Kitty and her double-cross, deceiving Swede, taking the money, going to Colfax and marrying him? His dying and her plea for him to declare her innocent so that she could not be taken to court? His death and her failure?

22.The humorous ending, Riordan and his success, his boss, the premiums on insurance payments for the following year – and his being allowed the weekend off?

YO (ME)

Spain, 2007, 100 minutes, Colour.
Alex Brendemuhl.
Directed by Rafa Cortes.

Yo is an enigmatic Spanish drama about identity. It focuses on a worker, Hans, arriving in Majorca – but there has been a man with a similar name in the past. Is it the same man, what is the link between them? What is the nature of identity, especially in terms of relationships and in terms of locations? The leading actor Alex Bendemuhl featured in the Spanish film, The Hours of the Day. An intriguing film.

1.A Spanish film? German interest? European setting of the 21st century? Migrants and workers?

2.The Spanish Isles, the use of colour, reality and unreality? The drained colour for most of the film? The bright colour at the end? The streets, the bars, the shops, interiors of the house, darkness? The musical score?

3.The title, the focus on Hans? Who he is? The other Hans? The discussion of reincarnation? The body at the bottom of the well? The issues of identity? Covering identity? New identities? The significance of the letters Hans wrote to his wife and others? Hans at the end?

4.Truc, the game, the cards, the players, the truth and the deception, the techniques, the tricks? The championship? Victory?

5.The Hans at the end, the playing of Truc, his winning – and the whole film as a game of Truc?

6.Hans, German, in Spain, the opening, his search, finding the Tanca house? The discussions about the former Hans? Tanca – and his not being the real Tanca? The real Tanca losing the house, working for the new owner? Sylvia? Wealth? His room, settling in, the cook and the meals, his examining the food, the saying of the sixteen judges on feeding on the hanged man? His meeting Miquellet, Miquellet showing him the road? Miquellet’s return, the explanations, the explanation of Truc, searching for the other Hans? Catalina, the bar? The washing? Her looking for Hans? Nina, her work at the bar, the date, the sexual encounter, Hans breaking with her?

7.Hans and his hard work, the beer, the bottle, the whisky, the arguments, his buying the bottle of whisky as a gift? The box of alcohol? Tanca’s respons?

8.Tanca, his moods, explanations, playing table tennis, going away? His wife and her social life?

9.The mystery of the body in the well, Hans covering it with the cement? The worker and his coming in to examine the work? The bats? Hans, sense of presence, the other Hans and his belongings?

10.The puzzle about identity? The comments about philosophy and life?

PISAY (PHILIPPINE SCIENCE)

Philippines, 2007, 118 minutes, Colour.
Directed by Auraeus Soleto.

Pisay (Philippine Science) is an interesting film from the Philippines directed by Aureus Solito who made the award-winning The Blossoming of Maximo Oliveros (2005).

This film is more social and political, focusing on both the wealthy and the poor, students who go to an elite science school (some of them after winning quizzes on television). The setting is the 1980s in the years before the uprising against Ferdinand Marcos.

Various points of view on education are presented, the strict and demanding kind, the emphasis on a more humane and rounded education. Family backgrounds are included, political and diplomatic families, poor families, ordinary families.

The film highlights different characters, tells their stories, interweaves their stories to make an interesting portrait of young people who, when the film was made, were actually in their twenties to thirties and contributing to the life of post-Marcos Philippines.

1.For a Philippine audience? Worldwide audience? Philippine themes, history, politics, wealth and poverty, education, science, the arts, dreams, leadership?

2.The film as a morale-boosting film for potential students?

3.The tele-novella style: characters, situations, emotions? Expectations of the audience?

4.The Philippines in the 80s: homes, backgrounds, school, classes, learning? The aftermath of martial law? Unrest, student unrest, the education authorities, President Marcos and Imelda Marcos, freedom?

5.The structure of the film: the four years at school, the focus on particular students, their interactions, development, crises, their interactions with the teachers, change?

6.The teachers, the principal, her concern about students, the physics teacher and her dominant personality, her judgments on people, her letting people go? The contrast with the younger teachers? Aspects of authority? The teacher of the arts, his helping? The issue of student unrest, demonstrations, the dramatic performance?

7.The opening, the quiz, Philippine television, the MC, the questions, the top students, answers?

8.The students themselves: the central boy, his father in Saudi Arabia, his mother at home, poverty, the scholarship, his reputation, the questions in class? The friendship with Wena, the bonds, her friends, her aristocratic background, her father with the authorities? Their being together, the dance, the warnings about her studies, her breaking the relationship? The tensions in the after-years?

9.Andy, his work, with the girl from the revolutionary family, their clashes, work in the laboratory, the bonds, his being in the cadets? The role of the cadets and the drill? She and her family, the father overseas, unrest, the decision to leave? Her work on the paper, collaboration with Wena?

10.The young genius and his friend, their work, comic style, the bonds, sharing, the friend’s illness?

11.The boy and his illness, shaved head, in bed, his grandmother and her support?

12.The artist, his group, performance, artwork, the support of the teacher, his own life, teaching biology, opportunities?

13.The performance, everybody participating, the teacher? The revolutionary theme and its effect? The demonstrations by the students and the response of the staff? Mirroring political unrest in the country?

14.The revolution, the change of perspective? The teachers and their continuing their work? The students – and the fight against segregation of the cleverest students from the others?

15.The autobiographical film on the part of the writer-director, his memories, the tribute to his fellow students? The perspective of middle age and life in the Philippines in the 21st century?

UP THE YANGTZE

Canada, 2007, 93 minutes, Colour.
Jerry Bo Yu Chen, Campbell Ping He, Cindy Shui Yu.
Directed by Yung Chang.

Up the Yangtze is an excellent Canadian documentary, made by a Chinese -Canadian. He had previously made an award-winning documentary about the food industry and migration, Earth to Mouth.

The Yangtze is one of China’s best known rivers, noted for World War Two action in the film Yangtze Incident. It became the centre of world attention with the building of the Three Gorges Dam, opened in 2006 (and the subject of the award-winning feature film, Still Life).

The director takes his relatives on a trip up the Yangtze, discovering what happened with the moving of people for the Three Gorges Dam, the effect on people’s lives, the older generation – and the younger generation who are getting jobs on the ferries, in the tourist industry. One of the facets of the young people’s new jobs is that they have become very worldly, focused on money, a materialistic perspective on life which the film criticises.

The film is beautiful to look at, interesting in its presentation of the changing China at the beginning of the 21st century, a glimpse of the transitions and the effect on people.


1.A documentary and its perception on China in the 21st century? The images of the past, the ideologies of the past, periods of change? The future?

2.The film as a docudrama? The narrative, the young people acting themselves? The tourists? The Canadian background of the director, his father and the trip, his memories? The son and his trying to understand China from a Canadian point of view?

3.The colour photography, the vistas of the river, the towns, the dams, the empty towns before the flooding, the poor houses, the skyscrapers in the city? The different faces of China?

4.The luxury boat, the tourists, wealthy, their style, overweight, loud, their comments about the service? Big tippers? The musical score? The songs performed for the tourists? The Chinese songs in the background, traditional?

5.The generations in China: the older generation, the officials, corruptions in the towns? The crew of the boat? The services? The tourists? The attention to the tourists, the rules, the limits on conversations, the flattery, the tips? The older generation compared with the contemporary generation and the issues of selflessness? The Three Gorges Dams as a state enterprise and bigger than individuals? The extraordinary self-centredness, language and behaviour of some of the younger generation?

6.Cindy’s family: poor, the parents illiterate, the father working as a coolie, his children, Cindy and her wanting to study, aiming to go to university, her grades insufficient? At home, growing their own food on the side of the river, harvesting it? Having to move? Cindy on the boat, her love for her parents, missing them, returning home? The visit of the parents to the ship? Going to their new home and trying to settle in?

7.Jerry and his friends, drinking, nightclubbing, karaoke, wealth, the spoilt single children? Going to work on the boat, the interviews, ambitions, training? The work, the range of work on the boat, Cindy in the kitchen, the hosting of the guests? Jerry and his clients, the tips, wanting to make money, singing for the guests, his being sacked for his self-centredness?

8.The trainer, his interviews with the applicants, his continued optimism, smiling, his discussions about the face of China and his optimistic views?

9.The members of the staff, the numbers on board, the chef in the kitchen, the wash-up work, the waiting on tables? Learning English?

10.The cities, the wealth, the buildings? Modernity?

11.The build-up to the dam at the Three Gorges, the change in the Yangtze River, the indicators for the rising of the water? The final visuals of the family’s house, the rising of the water, overcoming the land, the house?

12.An insight into the changes in China? Mao and his attitude towards the Yangtze and the building of the three dams? The socialist vision? His swimming the Yangtze? Yet the collapse of aspects of communism? The capitalistic view of so many, the younger generation, the tourists? The future of China?

THE MIST

US, 2007, 126 minutes, Colour.
Thomas Jane, Marcia Gaye Harden, Laurie Holden, Andrew Braugher, Toby Jones, William Sadler, Jeffrey De Munn, Frances Sternhagen, Nathan Gamble, Alexa Davalos.
Directed by Frank Darabont.

Frank Darabont made a great impact in the 1990s with his version of a Stephen King story, The Shawshank Redemption. Here he has adapted King again but that is where any resemblance ends. The Mist has a plot like the B- Budget science fiction and monster movies of 50 years ago. Not that that is not a good thing. It is just that a writer like Darabont ought to be able to do smarter writing than this. The production values are of a higher class than some of the conventional and cliché dialogue (which echoes the shocks and fears of the past) but Darabont has been saving time and energy instead by scripting with less intelligence and wit, dishing up an over-expletive-filled screenplay which grates rather than communicates the terror the protagonists are going through.

Quite a long film, it spends most of its time in a supermarket where a group of shoppers are trapped when a mysterious mist descends after a ferocious storm. Some terrified people take refuge in the market after friends had disappeared. It soon appears that there are monsters in the mist and it is too dangerous to leave.

With a group like this there are the heroes, the villains and the annoyers. Thomas Jane is the hero (with a small son) along with Toby Jones as the manager of the supermarket. They dig in and barricade against the monsters. Frances Sternhagen is the elderly schoolteacher who tells people what’s what. Included in the villains is William Sadler as a cowardly tough who resents city people who make his town their holiday home. But it is the annoyer who steals the show by her incessant annoyance, aggravation, religious fervour and apocalyptic warnings. Marcia Gaye Harden plays the local born again leader (who also has a mouth for expletives despite God being on her side) and lays it on – though she terrifies many of the shoppers into conversion.

The monsters are actually monstrous (blame military experiments) and there is quite some tension as we watch (and wonder what we might do in such – impossible , we hope – circumstances).

The ending does not let us off.

1.The popularity of Stephen King stories? Horror and terror?

2.A monster movie, old B-budget plots? The dialogue, the crass aspects of the dialogue? A bigger than B-budget treatment?

3.The plausibility of the plot, the mystery of the mist, the monsters? Other dimensions and crossing dimensions?

4.The east coast town, the lake, the mist, the shopping mall, the market, the parking area, the musical score?

5.The interiors, the use of the supermarket? The loading bay?

6.The initial storm, David Drayton and his art, the tree crashing through the window, the effect on the family, his wife? Brent Norton and the clashes? The issues of suing? Their going into town together? Into the supermarket?

7.The supermarket, normal, Ollie Weekes as the manager? His staff? Dan Miller and his crashing into the supermarket, his story of the mist, the monsters, people disappearing in the mist?

8.The action in the loading bay: Jim and the others, their daring Drayton, insulting him, insulting the out-of-towners? The young man going out, the tentacles pulling him out, the cutting off of the tentacle? Jim and his cowardly behaviour? The claw? Telling Brent Norton, the others? Norton taking it as a joke? Continuing to talk about suing? His group going out – and his being destroyed?

9.The protection of the supermarket, the bags of fertiliser against the windows, taping the windows? The group atmosphere? Mrs Carmody? and her reaction? Religious overtones? The military presence? The appearance of the creatures in the light, the fire, the burning of part of the store? Joe, burnt, coping? The son of David, his being cared for by the women, by Amanda?

10.The atmosphere of fear, David, Ollie and the gun, Dan Miller, Billy, with the woman, the stories?

11.The group coping through the night, venturing out, going to the pharmacy, finding the pods and the creatures?

12.Mrs Carmody and her preaching, apocalyptic – yet crass in her language? Her madness? People slapping her? The night, gathering more followers, becoming more fanatical, the discussions about a brutal God, issues of blame, the soldier and his being attacked, sacrificed, having their eyes on the boy? Irene Repler and her shooting Mrs Carmody? The group cowering?

13.Sally, her place in the town, friends, work in the supermarket, the date, her being bitten, her death?

14.The plans to confront the creatures, getting to the car, part of the group getting caught, blowing the horn, getting inside the car, the remnant?

15.Driving, the enormous creatures, the vehicles on the side of the road, the continued mist, the lack of fuel? The despair? Not having enough bullets?

16.The tanks, the offer of help? The irony of David having killed the passengers? Surviving? The pessimistic ending?

17.Themes of human nature, disaster, the response? Heroism and fanaticism? The background of the military, experiments and irresponsibility?

THE BLACK BALLOON

Australia, 2008, 97 minutes, Colour.
Rhys Wakefield, Luke Ford, Toni Collette, Erik Thomson, Gemma Ward.
Directed by Elissa Down.

There have been many films about intellectually handicapped adolescent boys. This is one of the better ones. The first reason is that Luke Ford gives such a believable performance as Charlie, a young man who means well but is severely limited. His parents are wonderful with him, especially his mother, played with cheerful empathy by Toni Collette. His father (Erik Thomson) is a military man, away during the week, but devoted to his son when he is home. The other member of the family is Thomas, the fifteen year old (who becomes sixteen with a disastrous party). He is good to his brother but, as the film goes on, we discover his upset and then his anger, his inability to accept his brother deep down and the wish that he would change and be ‘all right’.

Rhys Wakefield is also very persuasive in this role and audiences, while hoping that he would not be like this in his attitudes, can truly understand how he has grown up and how difficult it is for him to cope.

This theme has been the subject of several Australian films: Malcolm, Struck by Lightning, Clubland.

Children are insensitive and there are some disturbing scenes of childish intolerance of someone different. However, one girl, Jackie (Gemma Ward) is attracted to Thomas at school – and has a most unfortunate experience of Charlie while he is out on a jog and, needing the toilet, rushes into her bathroom while she is showering. Thomas is mortified. But Jackie gets over it and befriends Charlie, going out of her way to be with him and treat him well.

Thomas has a crisis and loses his temper with Charlie. However, it is Jackie who supports Thomas too and he is able to join Charlie in the concert the special school is putting on for the parents.

There is plenty of sentiment but the film has some edge and is not sentimental. Difficulties at home and the problems of feeding and hygiene are not skimmed over. There is an Australian down-to-earthness that makes this film so watchable and achieve its points about understanding and tolerance of difference.

Writer-director, Elissa Downs, has written this story from her own family experience.

1.The impact of the film? Concerning family, handicap, coping? Family relationships? No matter what?

2.The city and suburbs, homes and streets, the school, the pool, the institution, the hospital? An authentic feel? The score?

3.The tone, the title, the image at the end of the credits, serious? Comic, the blend? The tone of the credits sequences, the dance?

4.The family, the army background, moving, settling into the suburbs, the age of the children? Education issues? Thomas going to a new school? Charlie and the institution? Coping at home, difficulties? The pregnant mother? The spirit of the family?

5.The focus on Thomas, his age, his perspective on home life, his relationship with his father and the army, his discipline? The mother and her jovial good-heartedness? Pregnancy, coming close to giving birth? Charlie? Thomas as introverted, having to deal with so much embarrassment? The quality of his love, his perspective on hating his brother? The revelation of the past, his bitterness towards his brother, wanting him to be normal, knowing that he wouldn’t, knowing that he could speak once, feeling that he could speak again? His anger? The various incidents and his having to deal with them? At home, feeding Charlie, giving him the medicine? The jokes? Going to school, the bus (and the fight at the bus lines)? With other peers, their criticisms, laughing at the disabled? At the pool? His lack of swimming ability? Charlie running away, down the street in his underwear? Charlie going into the house to the toilet? Jacquie coming to visit, locking Charlie in the room, his going to the toilet on the floor, having to clean it up? His mother’s reaction? The walks, the swimming? Jacquie and her being able to deal with everything? The birthday party, the anger, the fight, breaking the gift? His changing, the apology? Going to Jacquie’s house? Her coming to share with him, sitting in the gutter? Charlie’s monkey hat and Jacquie having it, giving it back? Having Jacquie over to the party, her watching the situation? Seeing the bullies at the pool? Her support, the concert, the future?

6.Charlie, his age, inability to talk, the past? Signing? The family resigned to this reality? Coping, the mother being busy, good-natured, the father and his discipline? Education issues? Friends? Charlie and his mischief? Happy? The star system and his being upset if he lost a star? His monkey hat? His running down the street, going to the toilet in the house? Accompanying Jacquie and Thomas at the swim, the walk? Making a mess on the floor? The fight, smashing the gifts? The concert, his performance?

7.Simon and Maggie, good parents, dealing with their situation, work, love, Maggie’s pregnancy, her speech about Charlie, the photos, her acceptance of her son, her not accepting having to go to bed, cleaning up rooms, the collapse, going to the hospital, the birth of the baby, her happiness at the concert? Simon and his dealing with situations at home, managing, getting Thomas to help? His pride at the concert?

8.Jacquie, with her father, her interest in Thomas, at the pool, helping him with the swimming, in the shower, Charlie’s intrusion? Her visit, communicating with Charlie, accepting him, interested in the signing, talking to him, going out, the swimming, the rain? The meal at the house? Her shock at Thomas’s behaviour at the birthday party? Coming to support him? The concert?

9.The neighbour, her criticism, calling Social Services, their attitude, the father’s reaction to them?

10.The bullies at school, the bus line, the swimming pool?

11.The swimming teacher, strong, supporting Thomas, his not swimming well, his improving, her expecting him to succeed? Her fixing things up with the squabbling children at the bus?

12.The institution, the bus, the children going, their friendships? Charlie’s partner, support, his nervousness at the concert, his parents? Pulling out?

13.Thomas, his accepting Charlie, going on stage with him, the song-and-dance routine? The reconciliation?

14.A film with realism but with hope and optimism?

NIM’S ISLAND

US, 2008, 96 minutes, Colour.
Abigail Breslin, Jodie Foster, Gerard Butler, Madison Joyce, Michael Carman.
Directed by Jennifer Flackett and Mark Levin.

Nim’s Island is based on a popular children’s novel by Wendy Orr. It should appeal to a younger girls’ audience who can identify with the story’s heroine, the lively Nim. She is played with confidence by Abigail Brselin (who already has an Oscar nomination for her performance in Little Miss Sunshine). She is at the centre of the film. Her island (well equipped with mod cons and electronic technology) is a kind of neo- Swiss Family Robinson home where she and her widowed father (Gerard Butler) live a pleasantly isolated live – although she has all her animal pets and friends. He is a scientist, exploring the seas for specimens. He brings in many books for her to read and she is especially enthralled with the adventures of a hero, Alex Rover. She imagines a lot of these stories – and Gerard Butler plays the part of Alex Rover.

Meanwhile, the author of the books, Alexandra Rover (Jodie Foster) is an obsessive, agoraphobic eccentric in San Francisco who emails Nim’s father for information about volcanoes. Father is away on an expedition which runs into a huge storm. Nim answers, anxious about her father. Alexandra puts fear to one side and braves the trip by taxi, plane, boat and helicopter and, finally, rowing boat to reach the island. This gives rise to a lot of slapstick comedy – which, on the evidence of her performance, is not Jodie Foster’s forte.

There is an interlude where a boatload of tourists arrive for barbeque and games on the island and Nim does her best (or her worst) to get rid of them.

The appeal of the film and characters is for girls. Boys might not be so tolerant. Parents who accompany their daughters will be fitfully amused as the film is not at all geared to them either.

1.A family-oriented film? The impact for children? What age? Impact for parents?

2.The South Pacific setting, the island, the tropical atmosphere, the jungle, the sea? The Australian locations standing in? Musical score?

3.The blend of reality and fantasy? Stories, real life, imagination, imagined stories?

4.The introduction: Jack, Nim’s mother, the research, the whale, the reappearance of the whale later, the family’s search for her? Seeing her as protecting them? Nim, her age, on the island, the modern home, the electronic equipment, yet isolated? Her island paradise?

5.Jack, his character, scientific ability, research, the emails and questions, the National Geographic article, his missing his wife, love for Nim, protecting her? The arrival of the books? The pleasure in reading the books about Alex Rover? His going on the expedition, his success, naming the species after Nim? The storm, the destruction of the boat? His survival? Fixing the boat? The help from Galileo the pelican? The whale passing by? His finally sailing back?

6.Nim, her love of life, agile, her reading, imagining Alex Rover? Her father fitting the picture of Alex Rover? The desert and his adventures? The email question, her replying to Alex? Her being alone, concerned about her father and the storm, her friendship with Freddie and Galileo? The other animals? Her food – and the worms? The arrival of the tourists, her pushing down the rocks, the volcano emitting ash? Edmund seeing her, her meeting with him? The message for Alex to come?

7.Jodie Foster as Alex, her work, writing, living alone, San Francisco, the phone calls from her agent, the demands for a new manuscript? Research about the volcano, Jack’s article? The images? The emails? Alex Rover being Alexandra’s alter-ego? Her Animus figure? Her needing to blend her own character with that of the adventurous Alex? Her manias, phobias, the deliveries, the mail, her going out, the enquiries, the decision to go to help Alex? Her journey, her packing, the skin lotions, the pratfalls, the taxi, luggage, Security rejecting her bottles? The plane, annoying the other passengers? The toilet, the sleeping pills, the flight attendants urging her off? Borneo, wanting to go to the Cook Islands, the plane, the taxi, the boat, carrying the luggage? The helicopter? The tourist boat, landing? In the rowing boat, the storm, her arrival?

8.Nim’s disappointment with Alex, as a woman, her timidity, their clashes? The gradual bonding, sharing, the adventures, the worms and the food?

9.Jack, his arrival back, meeting Alex? Their hitting it off together?

10.The inevitable happy ending – and a future?