HANNAH MONTANA THE MOVIE

US, 2009, 102 minutes, Colour.
Miley Cyrus, Billy Ray Cyrus, Emily Osment, Jason Earles, Lucas Till, Vanessa Williams, Margo Martindale, Peter Gunn, Melora Hardin, Barry Bostwick.
Directed by Peter Chelsom.

Definitely not the target audience for this movie spin-off from the Disney Channel's popular series about the 'ordinary' girl, Miley Cyrus, and her media persona, Hannah Montana, I thought I should see a film which has been enormously popular with young girls and has the approval of many of their parents.

It is a cheerful show, directed by Britain's Peter Chelsom (Funnybones, The Mighty, Shall We Dance) who, allegedly, had never heard of Hannah Montana before he agreed to make the film. Since she is on television, has had a 3D film of a concert and has several albums and an autobiography, she is a celebrity phenomenon.

That is what the film is about. The fact that Miley Cyrus dons a blonde wig and becomes Hannah on stage is a secret – though the device of the wig meaning that no-one will recognise her is too much of a stretch, especially in the film where she is running from one meal to another and the infatuated boyfriend sitting across the table doesn't realise that Hannah is Miley. Which must mean that the film is designed for very young, undiscriminating audiences.

Miley herself is OK, has some energy for singing, but does not have the charisma of other young actors. Her real life father, singer Billy Ray Cyrus, plays her screen father. Acting is not his forte.

With veterans like Vanessa Williams as a pushy agent, Margo Martindale as the most agreeable grandma and Barry Bostwick as the ambitious developer, other members of the cast, including gawky Lucas Till as Travis, the farmhand who falls in love with Miley, are not such great shakes at acting either.

So, the film is mainly the keeping of Miley''s secret as her father wants to teach her that her sense of her own importance and her capitalistic, consumerist, spendthrift shopping sprees are not what life and career are about. Her getting down to do some hard work back in Tennessee is a key to the message.

As with this kind of film, Miley is able to get a better idea about ordinary life and to keep her career as well. One suspects that the Hannah Montana popularity is studio generated and may be just a passing phenomenon.

1.The intended audience for the film? The television audience? Young girls? Their parents?

2.A Disney creation, the actress, the character she portrays, identity, the interaction of the two characters? The credibility of people recognising or not recognising her – especially with the wig?

3.Celebrity, people, fans, agents, the fawning public, paparazzi, journalists seeking scandal stories? How well did the film offer explorations of these themes?

4.Hannah Montana as a creation, as a personality, singing, performing, the entourage, the agent and the pressures, the critique of celebrity? Money, shopping, the fight about shoes with Tara Banks? Opportunities? Real or unreal?

5.The concerts and the songs? The audience participation?

6.Miley as a person, age, dreams of singing, changing, California, her father as her manager, the fight with Tara Banks, wanting the jet? Back in Tennessee, stranded, her own horse? The encounter with Travis?

7.Her father, his character, her brother and his pratfalls, Grandma? Her celebration? The possibilities for change? Resenting being present in Tennessee? Resisting?

8.The family and its capacity for pratfalls, slapstick comedy?

9.Travis, working, memories, the horse, his own dreams, selling the eggs, building the barn, sharing with Miley, infatuated, the dinner and his dressing up, upset about the truth?

10.Her father, Lorelei as the manager, a charming woman, at work, with the machines, organising the mayoral dinner, the fiasco and the farce?

11.Oswald Granger, British, his snobby editor? His daughters and their wanting to see Hannah Montana? Following Miley, the farcical episodes, his final decision and persuasion? His daughters?

12.Mr Bradley, the plans for development, his model of the town, its being broken? At the fair? The possibility of development or not?

13.The values, Miley learning, the dinner with the mayor, running to Travis? The functions, getting everybody dancing? Her final song, telling the public the truth? Their joining in the song?

14.Their people agreeing that she should have a career – and her success, but having learnt her lesson about ordinary life and real people?

15.The public and Hannah Montana/Miley Cyrus being a role model – or not?

HERO WANTED

US, 2008, 95 minutes, Colour.
Cuba Gooding Jr, Ray Liotta, Norman Redus, Kim Coates, Thomas Flanagan, Jean Smart, Ben Cross.
Directed by Brian Smrz.

Hero Wanted is a straight-to-DVD action thriller. It was also made in Bulgaria standing in for the United States.

After his Academy Award for Jerry Maguire, Cuba Gooding seems to have had a downhill career in terms of many forgettable action films straight to video and DVD. Ray Liotta turns in yet another detective performance. Norman Redus and Kim Coates have been the supporting actors in many thrillers. Ben Cross (Chariots of Fire) now doubles as an American ex-Vietnam veteran.

The screenplay is quite confused, shifting in time, has Cuba Gooding’s character going on a vengeance spree because of the death of a teller in a bank. However, later in the film it emerges that he was behind the idea of the bank robbery to impress the girl – but the criminal associates turned it into something real and shot her.

Brian Smrz is a veteran of stunt work for films over many years as well as an assistant director.

Not particularly impressive – an exploration of the theme of vengeance and its futility.

1.The popularity on DVD of this kind of action film? Plot, themes, action, vengeance? The cast?

2.The American settings (filmed in Bulgaria)? Authentic?

3.The title, Liam Case and his initial accident, his failure to rescue his wife? His impulsive rescue of Marley? Being acclaimed a hero? Receiving a medal? His action in the bank and his comforting of the wounded girl?

4.The opening, the voice-over, Liam in the bar, sick? The flashbacks and his accident, drifting, his friendship with the criminal types? The rescue from the burning car? The years passing? The later revelation of his complicity in the set-up for the bank robbery/

5.The bank robbery, the attraction to the girl (and the later explanation that she resembled his wife, seeing her at the cemetery)? His upset at her being shot, the vigil, her coma?

6.The subsequent action, going after the killers? Bashing one, shooting the other? McGraw? and his tracking Liam down? The threats? The kidnapping of the little girl? Holding her?

7.Detective Subcott and his investigations, his associates? Presenting the medal to Liam? Suspicions? Interrogation? Coming into the final shooting? The confrontation with Liam? His decision about the girl and Liam?

8.The injured girl, her coma, her mother coming to visit Liam? Dependence? Seeing the criminals, holding the gun, her puzzle? The girl coming out of the coma at the end? Her visiting Liam in prison?

9.The group of criminals, typical, the plan, agreement, the holdup, the shooting? McGraw? as the leader? Swain and his relationship with Liam? McGraw’s? brother and his death?

10.Cosmo Jackson, the Vietnam veteran, the substitute father for Liam? Going for his advice, the practice shooting? The discussions about vengeance? Cosmo’s warning him? Coming to his rescue, the shootings? Cosmo being shot – and disappearing from the film?

11.The build-up to the shooting, the set-up, rescuing the girl? The confrontation with the criminals, the detectives, the shootout?

12.The entertainment value of this kind of action film? Violence and vengeance? The target audience?

THE DIARY OF ANNE FRANK

UK, 2008, 150 minutes, Colour.
Elly Kendrick, Kate Ashfield, Geoff Breton, Iain Glen, Tamsyn Greig, Lesley Sharp, Ron Cook, Felicity Jones, Nicholas Farrell.
Directed by Jon Jones.

The Diary of Anne Frank is one of many versions of the celebrated diary written by the teenage girl in Amsterdam, in hiding in an attic from the Gestapo with her family for two years.

This version, made for television, is confined to the attic and the rooms in the house where the Frank family as well as the Van Dann’s are sequestered during the war. At times claustrophobic, the members of the two families become very irritated with each other but somehow or other survive. The film also emphasises Anne’s age and her personal and developmental growth.

Elly Kendrick is perhaps a bit knowing as Anne Frank – although she was rather precocious in her writings, her attitudes towards people, her egocentric behaviour which she gradually came to understand. Iain Glen is restrained as Otto Frank, a wise man devoted to his family. Tamsyn Greig is interesting as Edith Frank, staying in the background, despised in many ways by her daughter as just an ordinary housewife but having a great sense of fortitude. Lesley Sharp is also effective as the rather dominating Mrs Van Dann while Ron Cook is a touch subservient as her husband. Geoff Breton is Peter Van Dann, considered less than intelligent by Anne though she sometimes warmed to him. Felicity Jones is Margot Frank, Anne’s older sister, rather eclipsed in her ordinariness. Nicholas Farrell is the dentist who comes to share the lodgings and share Anne’s room part-time in order to do his writing. Kate Ashfield is Miep Gies who wrote a memoir on which this film is based.

The film is attentive to detail, helping the audience to understand what it was like to be confined in this space for the two years as well as the pressures on each of the members of the family to get on well with each other, to endure hardships and to share. The arrest, finally, has the tone of great pathos. Otto Frank in fact survived the concentration camp and lived till 1980.

1.The popularity of the story of Anne Frank? Revelations about the experience of the war in Holland? For the Jews? The concentration camps and the Holocaust? A story of the human spirit, survival?

2.The variety of versions, film versions, television? Theatre and plays? The memoirs of Miep Gies? The basis for this film as well as the diaries?

3.A television film, the narrower focus to the interiors of the house, the use of close-ups for the characters, the effect – the touch of claustrophobia? The clashes, the drama? The musical score?

4.The title, Anne Frank from age thirteen to fourteen? Her writing of the diary, her voice-over for the film? The contents of the diary, her capacity for observation of character and small detail, her creativity and imagination, literary style, moods?

5.The Frank family: Otto and Edith, the two girls? The company, the building of the offices, the staff? Their being hidden by the manager? The shelving? Their being Jewish and the effect of the war and Nazi attitudes towards the Jews? Enclosed in the upper building? The two girls and their age? Anne and her being dominating, self-centred? Margot as self-sacrificing? Edith as mother, as wife? Anne’s reaction to her mother, condemning her? Anne’s version of her father, always loving? The establishing of the routines, the quiet, toilet issues, freedom, lack of freedom, the windows? After hours and movement about the building? Having to make do and surviving?

6.The Van Dann family, the Franks taking them in, the effect? The father, quiet, considered a loser, criticised by his wife? Petronella and her dominance, talking, criticisms, meals? The coexistence of the two families? Peter as more quiet and slow?

7.The dentist, their taking him in, sharing Anne’s room, Anne’s critique, the desk, the shared facilities, his spending a lot of time in the toilet, wanting his rights at the desk? The life outside, the issue of food?

8.The detail of living together, the detail of the daily routines, opportunities for tension?

9.Miep Gies and the contact, bringing news, food, the papers?

10.The radio and listening to Britain, Churchill?

11.The character of Anne, her age, personality, wilful and egocentric, missing school, wanting to write, her ideas, changing, emotional, sexual awareness, contrast with Margot, talking with her, her attitude towards her mother, love for her father? The criticisms of the Van Danns? Mrs Van Dann and her commenting on Anne? The clashes with the dentist? Peter and the changes of attitude? The effect of the confinement on her?

12.Otto Frank, a good man, hardworking, cleaning out the toilet, selling the building …? His survival after the death of his complete family?

13.Edith, her range of moods, diligent, keeping the peace? Her concern about her daughters?

14.Margot, her attitude towards Anne, her own ambitions, the truth?

15.The sudden arrival of the Nazis, the arrest, people trying to avoid arrest, the effect?

16.The postscript and information about the deaths of all the characters? The extraordinary influence of Anne Frank and her diary in succeeding decades?

LET DEN RATA COMME IN (LET THE RIGHT ONE IN)

Sweden, 2008, 115 minutes, Colour.
Kare Hedebrant, Lina Leandersson.
Directed by Tomas Alfredson.

An enigmatic title which does not indicate the theme or tone of this quietly mysterious and even sinister film.

Set in a wintry housing estate in Sweden, it begins with snow falling and a young boy looking from a window. There are profiles of others staring into the cold night. The boy lives with his mother, has some contact with his absent father whom he loves. However, he is badly bullied at school and is reserved in his manner. It is not surprising that he makes friends with the young girl next door who has suddenly materialised and is comfortable in his company.

We soon learn what the boy takes longer to discover: that Eli, the young girl, needs to feed on blood to survive. Her mentor brutally kills some students. While the tone of the film is not particularly gory – though it has its moments – this is not your traditional vampire film. For one thing, we know nothing of Eli's origins or why she is in the apartment. She has no relatives and just survives from day to day (or, rather night to night). She has a powerful effect on the young boy who wants to 'go steady' with her. This is the first time that he has experienced anything like this, the new experience of having a girlfriend. It seems that it is the same for Eli.

In the meantime, the boy's mother fusses about him and worries about his behaviour at school. The older adults in the district who tend to resort to a local tavern find that some of their friends disappear and are mystified and upset. The police are investigating the unsolved killings.

The development of the drama is slow-burning. The danger is that the audience is not gripped emotionally but are more like detached observers, admiring the skills with which the writer, novelist John Ajvide Lindqusit, has built up atmosphere, and the director gradually immersing his audience in the moods and action so that it is quite affected by the end – the puzzle of what will happen to the boy and to Eli.

Those of a Jungian persuasion may be tempted, as this reviewer was, to wonder whether everything was really happening in the boy's mind and imagination because of the 'magic realism' episodes and the strange vampiric presence of Eli. She is an anima figure. The film is full of shadow figures: the bullying boys, inadequate parents, the sinister guardian, the strange neighbours, dogs and cats who are terrified when vampires are present. And the final scene...? Is it real, or has the boy finally retreated into his sub-conscious?

1.The novel, the adaptation by the author? The focus on children and family? Loneliness and bullying? The vampire theme?

2.The low-key style, the slow burning, the audience observing, gradually immersed in the atmosphere? The effect?

3.The scenes of violence, the suggestions of violence, the results of violence, increasing towards the end? The role of blood?

4.How real was this story? Actual or in Oscar’s mind? Eli as his Anima? The shadow figures of his parents, the people in the village, the bullies at school? The atmosphere of snow in the suburbs of Sweden? The box in the train?

5.A Swedish film, the Swedish winter, the cold and the dark, the snow and ice, the Stockholm suburb? The contrast with the scenes in daylight? From Eli’s perspective, light and darkness?

6.The neighbourhood, the apartments, the bar, the underpass, the woods, the frozen river? The contrast with the ordinariness of the school, the swimming pool, the picnic and the ice?

7.Oscar, aged twelve, his looking out the window, his initial comments about the pig squealing and getting vengeance? Eli hearing this? His ordinary life, with his mother in the apartment, his absent father yet his love for him, talking on the phone, the outings with him? His imagination? The posters and the decorations in his room? At school, the victim of the bullies, within the group of children?

8.The contrast with Eli, the man watching out for her, his pursuing the student in the woods, hanging him, getting the blood, his escape? Later, accosting the neighbourhood men? His death? Eli as a vampire, no explanation? Her age, as a person, no family? Her needs, the blood? The cat’s reaction? Her listening to Oscar, friendly with him, talking, in the room, sharing? His giving her the Rubik Cube and her solving it? His asking her to go steady, his girlfriend, his explanations? Her desperate need for blood, hidden in the day, her killing? The growing friendship with Oscar, the stronger bond? Ultimately the massacre at the pool? Suggested – rather than seen? Finally in the box in the train?

9.Her guardian, sinister, watching, stalking people in the woods, at night, killing, hanging the bodies, getting the blood? His repeating this with other victims?

10.The old friends in the neighbourhood, gathering at the bar, their talk, the bonds with each other, the friend being killed in the underpass, the burial of the body, the discovery of the body? The children and the ice? The woman and the cats? Her being bitten, in hospital, vampirised?

11.Oscar’s mother, fussing, yet not looking after him well? Upset about what happens at school? His father, the visits, the bond?

12.School, the ordinariness? The bullies, their taunts to Oscar? The leader and his brother? Oscar getting the upper hand and the angry reaction? The picnic, the ice? In the pool, the brother, holding Oscar down in the pool, Eli destroying them?

13.The police investigation?

14.A vampire story, winter, bleak, a mystery, in a mystery world? No explanations?

SIMPATICO

US, 1999, 106 minutes, Colour.
Nick Nolte, Jeff Bridges, Sharon Stone, Catherine Keener, Albert Finney, Shawn Hatosy, Kimberly Williams -Paisley, Liam Waite.
Directed by Matthew Warchus.

Simpatico is based on a play by actor-writer-director Sam Shepard. He is the author of such plays as True North, Fool for Love.

The film was directed by theatre director from England, Matthew Warchus, his only film.

The film focuses on the racing industry. In the present it focuses on the selling of a stallion for breeding purposes, owned by millionaire, Jeff Bridges. Sharon Stone plays his wife. However, the sale is interrupted by a plea from an old friend, played by Nick Nolte, who has a scheme of his own back in their home town of Azusa in California.

The film also goes back to the past, when the three central characters were young, pulling off racing scams, substituting champion horses for plodding horses and winning a lot of money. They come up against the commissioner, played by Albert Finney, whom they blackmail. Shawn Hatosy, Kimberly Williams-Paisley? and Liam Waite play the three young characters.

In the present, the film also focuses on a character played by Catherine Keener, always a substantial presence in any film.

The film shows the complexity of the scams, the consequences and people living with guilt, the need for some kind of integrity, the expose of false values. The Finney character is particularly interesting as a person who has learnt to live with his past – even though not entirely changing it.

1.A satisfying drama? Scams and frauds? Blackmail? Relationships? Guilt and consequences?

2.The racing setting, in California, in Kentucky? A background of wealth, poverty? Ordinary lives in small town California? The musical score?

3.The credits, the photos and their later significance? Incriminating? Each of the three and their contact with the photos? Simms, his being photographed, blackmailed? His ultimately not caring? The possible power of the photos? To be used? The failure – and their finally being burnt?

4.The title, the horse, a champion, yet a cover-up and a fraud? The sales, Rose and her love for the horse, riding it and shooting it?

5.The two time-spans, the present with Vinnie and Carter, Vinnie’s crisis, taking place over only a few days, the confrontation and resolution of the problems? The past, a longer period, the three friends, their age, the bonds between them, their work, their plans, substituting the horses, seen by Simms, trying to buy him off, his refusal and throwing their money away, the photos and the blackmail? The scam showing the worst side of each, especially Rose and her complicity? Carter and his use of the situation? Vinnie and his indecisiveness?

6.The adult Vinnie, Nick Nolte, dishevelled, his talk about Cecilia, his plan, the pressure on Carter to come to him, his drinking, his house and its squalor, the argument about Cecilia? Persuading Carter to go and see Cecilia? The issue of harassment, the arrest? Vinnie taking Carter’s car, the flight, taking his identity, his credit cards, the information about Simms as Ames? Carter’s story about Ames in Florida? The visit, the oblique talk with Ames, the what if…? His not caring? The visit with Rosie, her rejection of him? His return, the reconciliation with Carter, burning the cards?

7.Carter, his past, present success, horses and breeding, Simpatico, his extensive staff, busy on the phones, treating his clients, interrupting his meetings? The marriage with Rosie and its tensions, the phone calls to her? His flight to see Vinnie, his exasperation, trying to understand the situation with Cecilia? His car being stolen? Hurting his hand, Cecilia helping him, the discussions, giving her a task, buying her the dress, his staying in California, sleeping, the phone calls, awareness of what was going on, his weariness, the final decision to stay and to burn the photos? The possibility of a decent future?

8.Cecilia, ordinary, her work in the supermarket, her relationship with Vinnie, friendship, listening to his story, being taken in by him? Carter seeing her, her anxiety, her wanting him to leave, his asking her to go to Kentucky, her refusal? The persuasion of the dress, the possibility of going to the Derby – even if six months later? The dress, her flight, going to see Simms, her nervousness in talking with him, uncomfortable, her honesty? Simms and his proposal, her integrity? At the end, back at the Derby, happy?

9.Rosie, the marriage, the house, wealth, love for the horse, her drinking? The servants, the past, the scams, the sexual set-up for Simms, the photos, her phoning in and betraying him to the authorities? Her choices?

10.Simms, his role as a steward, his wife and children, the money, refusing it from the youngsters, the sexual encounter, the photos, his discovering them, his being exposed to the authorities, leaving, disgrace? Later, a new life, a new name? Loving his work, his explanation of the horses? Yet still corrupt, flirting, resigned to his fate?

11.A film of human nature, bad aspects and their consequences? Finding the good? What does it profit to gain the whole world and lose one’s soul?

KIRSCH BLUTEN/HANAMI/CHERRY BLOSSOMS

Elmar Wepper, Hannelore Elsner.
Germany, 2007, 127 minutes, Colour.
Directed by Doris Dorrie.

I hope that many audiences find this a very moving film.

The subjects are ageing, the generations of families, tensions, differing cultures and, especially, death.

Doris Dorrie has made many popular films in Germany as well as documentaries. This film, with a small budget, a limited crew, and, working in Germany and Japan, experienced rugged conditions in process but has achieved great feeling and beauty.

The Japanese motif is in the title and in Trudi (a marvellous Hannelore Elsner) wanting to visit Japan where he favourite son works and to see the blossoms at Mt Fujiyama. But, her husband Rudi (Elmar Wepper, also very convincing) is a man of strict, even rigid habits, and does not like 'adventures'. However, they do go to visit two children in Berlin and find that the children find them a burden and are too preoccupied and busy to put themselves out for their parents though the son is glad to see them, the daughter not. In fact, it is her partner who is the most considerate. Trudi and Rudi go to the Baltic for a beach break.

An unexpected event changes the drama and the dynamic of the film and a transition to Japan. While the focus is on Rudi (and we miss Trudi very much while she is not on screen, as he does) and his transformation by Japanese culture and a Butoh dancer (Butoh is a 1960s development of dance and mime that expresses deep inner feelings), an art form that is dear to Trudi.

Doris Dorrie gave an interview on the film's release. She had visited Japan with her daughter and was charmed and fascinated. She made parts of two films there. Her husband was her cinematography. He husband died and she was grief-stricken but found comfort in Butoh dance which she first saw in a television program, especially Butoh's emotion in stylised form that indicated a re-enactment of the past, embodying a deep union between people who loved each other long and deeply. Her words enhance the experience of her film which brings all this together and more.

Doris Dorrie also acknowledges her debt to classical Japanese cinema, especially the films of Ozu and his Tokyo Story whose plot this film resembles.

Older audiences will identify with the characters and their situations. Younger audiences will identify with the children, even if they don't wish to.

1.The appeal of the film, to older audiences, to men, to women? The effect on younger audiences? Younger audiences identifying with the children? The critique?

2.The sensitivity of the film-making, on marriage, love, long companionship, tolerance between husband and wife, union and unity, illness, death, grief and coping?

3.The German sensibility? Understanding of and empathy for Japan? A female perspective? The arts, the Butoh style of mime and dancing? German perspective on life, marriage, work, children? The director and her experience of her husband’s death, the visits to Japan, Butoh dancing?

4.The German settings: the town, the mountains? Berlin and the city? The Baltic coast, the beaches, the hotel?

5.The contrast with Japan, the credits, the symbolic blossoms, the celebration of the blossoms, Mount Fuji?

6.Trudy, her voice-over, her desires for her life, to go to Japan, Mount Fuji? Her love for Rudy, her long marriage, the children? Her life in the town, the routine? Her husband and his arrival home, coat, slippers, meal? Her husband not wanting adventures? Her love for the dance, the photos of her, its meaning for her life, Rudy having no interest?

7.The doctor, his diagnosis, Trudy and her decision not to tell her husband, her concern, lying awake, alert to discussions and mentions of death?

8.Rudy at work, mundane, meticulous, the routine of going, the train, sharing the paper, consciousness of time, the sandwich, the apple a day, going home?

9.The visit to Berlin, the son and his wife, late at the airport, taking up the children’s rooms in the house, the grandmother and her love for the children, their being preoccupied with their computer games, the father and mother and their being busy? The meetings and inability to take the parents for drives?

10.Karolin, her relationship with her brother and sister-in-law, her anger at her parents, critique, their favouritism of Karl, her relationship to Franzie? Her lifestyle? The visit of the parents for tea?

11.Franzie, Karolin’s partner, pleasant, at the meal, her offering to drive them round, hospitality, taking Trudy to the Butoh dance, sharing the experience? The only one to come to the funeral?

12.Rudy and the Butoh, sitting outside? Trudy and her dancing? The Butoh, its style, its meanings, mime, demonstration of interior feelings?

13.The Baltic, the walks, the hotel, peace? The questions what if..? about death? Trudy’s death?

14.Rudy’s bewilderment, the children’s reaction, Karl coming from Japan, the minister at the funeral? The aftermath and their discussions?

15.Rudy and his grief, his desperate missing of Trudy (and the audience missing her as well)? His routines, packing up? Rediscovering his wife? The photos of her in the Butoh makeup?

16.His discovery, going to Japan, arrival, Karl meeting him, his being lost, Karl and his treatment, taking him to work, making him stay all day in the office, the meals, the pictures to help with his vocabulary, Karl and his drinking at the party, Rudy coping?

17.Rudy and the Japanese culture, walking around Tokyo, the various districts, the language, the experience, the strip club, the sauna? His reaction? Going back? Tying the handkerchiefs to mark his place?

18.His discovering of the young girl, meeting her, her performance in the park, the Butoh, the makeup, the mime, the movements, the telephone, her grief? Her explanation of her mother’s death? Rudy being able to pour out his own experience? Her response? Accompanying her to the subway, her making a difference in his life? His decision to follow, the discovery of the tent, her life in the tent, poverty, taking her to Karl’s apartment, the shower, Karl ousting her? His decision to travel to Mount Fuji and inviting her?

19.Mount Fuji, covered in clouds, the room, the hopes, Rudy’s impatience? His giving all his money to the girl?

20.Rudy's dreams, Trudy’s presence, his waking, the view of the mountain, the blossoms, going out, applying the makeup, with Trudy, the Butoh dance? His death?

21.The reactions, the family, their bewilderment? The young girl, her future? And audiences satisfied as experiencing real human beings, their relationship, the depth of love, death and grief?

THE WORLD UNSEEN

South Africa/UK, 2008, 94 minutes, Colour.
Lisa Raye, Sheetal Sheth, Parvin Dabas, Nandana Sen, David Dennis, Grethe Fox.
Directed by Shamim Sarif.

In her first film, based on her novel, I Can't Think Straight, writer-director Shamim Sarif used the conventions of soap opera and serials to create a world for her tale of same-sex attraction and love. Her second film is better, even if the central plot is much the same, because it has a South African setting, Cape Town's Indian area in the apartheid of 1952.
The improvement comes with the setting and story but, instead of soap opera influences, she makes her film in the style of the popular telenovellas.

While the apartheid brutality and prejudice is familiar, it is still shocking to see on screen. The descendants of Indian migrants are labelled as coloureds and are not allowed to mix with white people. But, laws of apartheid also apply to them as regards the black population – and some of them are almost as condescending or hostile to them as the whites. Several sub-plot strands show the dangers of a coloured married to a white visiting from Europe and subject to arrest and imprisonment. Imprisonment is also threatened for anyone hiding them or helping them to escape the police. There is a mutual attraction between an elderly coloured restaurateur and the white postmistress that is doomed given the ugly behaviour of some of the police imposing the laws.

The Indian community has its own harsh history, its traditions and expectations for women to marry, stay at home and bring up their children. But, it also has its own difficulties in domestic violence and extra-marital affairs.

However, at the centre of the story is the meeting of a quietly proper coloured woman (Lisa Ray) with an unfaithful and violent husband and three children and a coloured restaurant owner (Sheetal Sheth) who dresses and behaves in a masculine way. It is not quite the same sex relationship as in the previous film. Rather, the wife, though attracted, experiences having her eyes opened to the social confinement in which she lives. The restaurant owner and her love are the catalyst for this.

Much more watchable than the first film and more likely to elicit a more sympathetic audience response.

1.The work of the writer, director, novelist? The memories of her grandparents’ experience in South Africa? The atmosphere of South Africa and its apartheid traditions?

2.The location photography, Capetown, the Indian area, the countryside, the beauty of the landscapes? The restaurant, the homes, shops, post office? Authentic feel?

3.The 1952 look, clothes, music?

4.South Africa and apartheid, the film taking place during the early years? The justice issues? The classifications of people, the whites and their harshness, rude and humiliating behaviour? The post office? The police? The lenient policemen and the harsh policemen? The classifications of: whites, coloureds, blacks? Each group having South Africa as its home, a different heritage?

5.Apartheid as the setting for this family drama? The place of the Indians and coloured peoples in South Africa in the 20th century? The harsh history, the raping of the grandmother, her deportation, separation from her child? The expectations of the Indians? Traditions, marriage, the wife as servile, the dominant grandmothers? Husbands and their violence, submissive wives?

6.The restaurant as a particular setting, the police arriving, their brutal methods, the guns, Jacob and his shielding Madeleine? The blacks and their being ousted? The coloureds and it being an Indian restaurant? Amina and the ownership of the restaurant? Jacob as a silent partner? The background of Amina’s family, Jacob and his marriage? The cooking, the music, the celebrations, meals and customers?

7.The family homes, the crowded house, Omar and Miriam and their moving? The shop? Miriam’s pregnancy, Amina and the house, working in the garden for Omar? Omar and his continually going to Capetown?

8.Relationships, strong marriage, failed marriages, betrayals? Same-sex relationships? In 1952, in apartheid South Africa, the place of women? The reference of the title?

9.The character of Amina, strong, wearing the trousers and hat, masculine style, owning the restaurant, managing it? The police and their reactions? Her work with Jacob? The group, the attraction to Miriam, bringing the desserts? Her own family and its history? Her mother? Omar getting her to make the garden? The driving lessons for Miriam? Her good manner with the children? Her grandmother, the dominance, expectations for marriage, the meals, her changing her clothes, the importance of the woman who married the white man, Amina saving her, hiding her in the closet? Her grandmother’s death – and people blaming her for the heart attack? Miriam’s visit? The car, the kiss, Miriam and her reaction? Amina and her freedom, talking? The job offer for cooking? Resigned to losing Miriam? The final and Miriam coming to work?

10.The character of Miriam, as wife, mother, love for her children, tension with her husband? Pregnant, moving home, her work, the difficulty of the birth, the baby girl, her husband wanting a boy? The children and their going to school? Her husband being away, knowing about his affair? The meal at the restaurant, encountering Amina? At home, the police interrogating her about her sister-in-law, threatening to take her children, putting them in the van? Her giving the information? The driving lessons, her husband and his brutality, bashing her? Amina making her more aware of her situation, the emotional reaction to Amina, her decision, going to the job?

11.Jacob in the restaurant, his age, experience, attraction to Madeleine, visits to the post office, the whites-only section, his decision to take her out, their being caught at the post office, his having to drive as her chauffeur, the break, Madeleine as a sympathetic character?

12.The extended family, the dominating grandmother, meals, the discussions about issues, the grandmother’s death? Funeral? Amina’s father, the others knowing about her orientation, support?

13.Omar and his affair, Farah and her dominance, her disgust with her own husband, her being forward in her manner? Almost being caught? Giving the information to the police?

14.The visitors from Paris, the laws about mixed marriages, the threats and prison? Amina hiding the wife?

15.The film as Miriam’s psychological and emotional journey – and where had she arrived at the end?

THE BOAT THAT ROCKED

UK, 2009, 135 minutes, Colour.
Philip Seymour Hoffman, Bill Nighy, Rhys Ifans, Kenneth Branagh, Emma Thompson, Nick Frost, January Jones, Jack Davenport, Rhys Darby, Chris O ’Dowd, Tom Sturridge, Tom Wisdom, Gemma Arterton.
Directed by Richard Curtis.

There are a number of features here that will interest potential audiences. The film is directed by Richard Curtis, writer for so many Mr Bean comedies, Blackadder, French and Saunders, Four Weddings, Notting Hill, Love Actually – and The Vicar of Dibley. It has a starry British cast led by Bill Nighy, Kenneth Branagh, Rhys Ifans, Emma Thompson plus Philip Seymour Hoffman. It is about Rock and Roll and the pirate radios in the North Sea in the 1960s which played music 24 hours a day and had an enormous following until they were banned and put out of business in mid-1967. Those young at the time may well want to re-live it.

But...

It's very long. And, just when it seemed to be ending and we would receive information about what the British Government did and the consequences, it goes on for another half hour, defying the government, springing a huge leak and moving from Titanic mode to a neo-Dunkirk rescue. Which, in terms of the historic realities seems a bit too much of a claim. In this era of verbal sensitivities, it is surprising to hear Philip Seymour Hoffman say to Rhys Ifans, that the 'holocaust' taking place in Vietnam will be as nothing to the egotistical duel they will fight with each other to prove that one is chicken. And their silly clash takes up a (un)fair amount of time.

In fact, the screenplay does not seem as funny as it hopes to be – and there are some crass bits which may be how people talked back then (or not). This may be because the characters deep down are not all that interesting. Radio Rock is a ship out in the North Sea, with Bill Nighy as the proprietor and a staff of men only (except for the lesbian cook) with eager women arriving on Saturdays for rest(lessness) and recreation. And the men are a motley lot of eccentrics (except for naïve young Carl (Tom Sturridge) who has been sent by his mother to experience, well, being a 1966 English man, whatever that is meant to be). They are absolutely devoted to their music and their programs – and, we are shown frequently a huge range of fans from every walk of life from school kids to an Asian Londoner in his shop.

Curtis tends to make them icons of pop culture, heroes of counterculture, which probably sentimentalises them far more than they deserve. Looking at them, listening to them, their adolescent behaviour, cracks, their bickering, they are actually a bunch of ratbags that you probably would want to meet only on the screen rather than in real life.

During the film, with the sex talk and shenanigans, a phrase that was often used in reviews of the past floated into mind, 'low moral tone'. And it is. While trying to avoid being too puritanical or commenting on the music itself, we might see the film as a celebration of a low moral tone.

Though it is a serious caricature, Kenneth Branagh's exaggerated cabinet minister on the warpath to exterminate Radio Rock at all costs (including their lives), became one of the more entertaining, even funny, aspects of the film. But even his assistants were given crass names to fit in with the proceedings.

So, a disappointment, considering the potential.

1.British media history? Radio and developments? The history of rock ‘n roll? The mid-60s?

2.The re-creation of the period, its look, London and parliament, interiors and exteriors, the boat and the North Sea, the interiors of the boat, the studios?

3.The music, rock ‘n roll, the range and selection, the limitations, as played by the deejays, in the background? The listeners, their response?

4.The nature of pirate radio, the contrast with the BBC, broadcasting music, legislation, audience tastes and changes, copyright issues, advertising?

5.The government against pirate radio? The cabinet meetings? The role of the prime minister, Minister Dormandy? The crusade against the radio rock ship? Motivations? Dormandy and his staff, the meetings, his manner, dress, speaking, peremptory? Twatt and his being chosen for the campaign? The secretary and her listening to the radio?

6.Twatt and his crusade, ideas, advice, Dormandy and his moods, wanting to fire people? The final plans? The legislation?

7.The introduction to the boat, Carl arriving, Quentin’s godson, his mother sending him, his being expelled, expectations? His attitudes? The deejays and his admiration for them? Bunking with Thick Kevin? Work, shy manner, the Saturdays and the women’s arrival, Dave and his setting him up, in the dark, the fiasco? The spirit of the boat? The activities? Marianne and his being forward, Dave and the condoms, her going with Dave, his being upset, his mother arriving, the quest to find his father, suspecting Quentin, discovering it was Rob? Marianne’s return, the night with her, broadcasting it on the radio? The final rescue?

8.Quentin as manager, his manner, the touch of the fop, his decisions, employing the count? The count and his wanting to swear on air? Quentin trying to stop him? The role of the government? His being overheard? The rivalries between Gavin and the count? The issues of advertising, contracts? The celebration of Simon’s marriage? The final broadcast, his announcing that the boat would sink, their probable deaths? Surviving?

9.Mark, deejay, silent, in action, the women, his philosophy? Angus and his not being liked, cantankerous, not being able to swim, thrown in the water, his being scared, people’s reactions? Rob, on the dawn show, not seen, the drug background, his love for the music, his reaction to the news that he was Carl’s father? Wanting to stay, Carl rescuing him, clutching the record, surviving?

10.The count as American, his manner, freedom of attitude, reputation, on air, swearing, not welcoming Gavin, the rivalry, leading to the fight, the mutual accusations of being chicken? Climbing the mast, diving into the water, the injuries? Making peace? Staying in the studio, but finally surviving? His philosophy about music and its long life?

11.The contrast with Gavin, his manner, reputation, on air, lewd and suggestive, his behaviour? The situation with Eleanore, Simon and the marriage, Eleanore’s going to him? The rivalry with the count, climbing the mast, diving first into the water, his injuries?

12.Simon, simple, his dreams, meeting Eleanore, the marriage ceremony, the night, bringing her tea, the truth about her plan? The support from the others?

13.John, his announcing the news, his assistant and not wanting to go back to Peckham?

14.Felicity, the only woman, her being the cook, sexual identity, the visiting girl, the rescue?

15.The fans, their range, the visualising of them listening, their activities, this being scattered through the film?

16.The groupies, arrival on the boat, motives, sex?

17.The character of Twatt, the background of Yes, Minister, his plans, determination, seriousness, issues of advertising, legislation? Going on board, discovered spying? The Christmas dinner and its ultra-formality at Dormandy’s house? The final success, Dormandy’s wife and her congratulations? The sinking of the boat, his phoning to the minister, the minister’s refusing to send help?

18.The comedy, on board, the characters, the contrast with Dormandy, the satire and caricature, the Christmas dinner? His hardheartedness at the end?

19.The images of the Titanic as the boat was sinking, the survivors on the deck, the rescue, sending out the radio message?

20.The images of Dunkirk, the rescue?

21.The atmosphere of the period, the 60s and change, moral perspectives, music, drugs?

22.Setting up the characters as icons, heroes – but also ratbags?

8 MILE

US, 2002, 110 minutes, Colour.
Eminem, Kim Basinger, Mekhi Phifer, Brittany Murphy, Evan Jones, Taryn Manning, Michael Shannon.
Directed by Curtis Hanson.

8 Mile is a star vehicle for rap artist Eminem who was the subject of controversy in the early 2000s, especially because of his lyrics in his rap songs and the focus on violence, women, homophobia. However, the criticism does not seem to be justified by this film, the performance or his lyrics.

Eminem is not a natural actor. This film is based loosely on his life and growing up in Detroit. He had a hard life, seemed to be full of anger, expressed this anger in his songs and rose to some kind of eminence, even winning an Oscar for Lost Souls, the song from this film. Kim Basinger appears as his mother, Mekhi Phifer as his supportive friend, Brittany Murphy as a sympathetic girl that he meets. There is a strong supporting cast of African American actors.

The setting is Detroit, the wrong side of the tracks, 8 Mile. Eminem’s character went to school with the African Americans and they have remained friends, especially in the rap competitions where artists rap for almost a minute in insulting rhyming slang against their opponents. The audience joins in with great enthusiasm.

The story is familiar, the young man who is something of a loner even with his friends, works in a factory, has a slatternly mother, fights with her boyfriend, is supportive of his little sister, lets his anger erupt and turn against his friends, fighting them – but, eventually, going into the competition and winning and heading off to a new career.

The film was directed by Curtis Hanson, something of a surprise for the director of LA Confidential and Wonder Boys prior to this film.

1.The target audience for the film? African Americans? White Americans? Rap fans?

2.The Detroit setting, the uglier side of the city, the factories, the trailer homes, the streets and the clubs?

3.The music, the rap lyrics and their content, themes, violence, social concerns, controversial? The nature of the music and rhythms? The performance throughout the film? The background score?

4.The focus on Jimmy Smith, his nickname B-Rabbit? In himself, his friends, in the mirror during the credits, his wanting to be a rap artist, his being frozen on stage and laughed at?

5.The family background, Kim Basinger as his mother, her relationship with Greg, Greg and his dislike of Jimmy? Their fights, Jimmy eventually ousting him? His mother’s upset, drinking, going to bingo, with the men, not having money? Love for her son, giving him the car? Angry, ousting him? His concern about his little sister, protecting her, fond of her and helping her? Her response? Her observing the violence around her, especially the beating at the end?

6.Jimmy and his friends, Future and his being the compere at the club, trying to help him, promoting him, Jimmy getting angry with him for making all the decisions? The other members of the group, travelling in the car, their banter, support? The confrontations and the fights?

7.Their individual personalities? Future? Cheddar Bob and his being very slow, his shooting himself and the wound? His friendship? The range of other friends? The rival, his trying to organise the studio time? Jimmy’s anger with him and his relationship with Alex, his fighting him? The return fight, his allowing himself to be beaten?

8.Alex, at the factory, her brother? The attraction to Jimmy, listening to him and the rap? Going out with him, the dates? His kissing her? Her encounter with his friend? Jimmy’s anger? Her farewell?

9.Janeane and her being his girlfriend, saying she was pregnant, his giving her the car, discovering that she only told him this to deceive him? His anger with her at her visit to the factory?

10.The build-up to the climax, Jimmy and his anger towards Future, wanting to withdraw? His fight with his friend at the studio? His anger with his mother and her ousting him – but her win at Bingo and making a meal for him? Going to the appointment, promising to work overtime, his friend giving him the time off, the performance in the club, his winning the rounds, the confrontation with the champion? His shrewd move in insulting himself when he went first in the competition, leaving his opponent nothing to say?

11.His walking into the future – and the audience knowing that Eminem actually became a success?

THE HAUNTING IN CONNECTICUT

US, 2009, 92 minutes, Colour.
Virginia Madsen, Kyle Gallner, Elias Koteas, Amanda Crew, Martin Donovan, Sophie Knight, Ty Wood, Eric J. Burg.
Directed by Peter Cornwell.

It begins with those ominous words, 'Based on a true story'. Unless you are prone to believe everyone and everything, you will take this with a grain of salt. However, there is enough to savour here, that you won't take this fictional film with that grain.

One of the troubles with horror films in recent years is that so many of them are really horrible, in tone, in language and in gory details. Many ordinary audiences would walk out (allowing that some of them have actually walked in).

But, film-makers have always known that many audiences, even respectable audiences, like a scary story and enjoy jumping at some shocks. These films rely on atmosphere and characters rather than indulge in the gruesome. Recently, The Uninvited worked quite well with an unanticipated (at least to most of us) twist.

The Haunting in Connecticut does not offer twists but opens with suggestions of mysterious happenings in a building back in the 1920s – and all becomes clear by the end. Actually, every reviewer and commentator has mentioned that they were reminded of The Amityville Horror. And, that is right. It is a variation on that treatment of a haunted house.

Where this film has an advantage is that it is telling a story about a teenager with terminal cancer (Kyle Gallner) who has been accepted into experimental treatment and needs to stay near the hospital as the radiation therapy makes him nauseous and sick. The empty house seems inexpensive and handily close, so mother (Virginia Madsen), children and a cousin move in with the father staying at work but visiting.

Well, things go bump in the night and soon the sick boy is subject to morose moods and strange behaviour. He meets a pastor (Elias Koteas) who also has cancer and he becomes involved in trying to 'exorcise' the evil from the house.

At first the film suggests its horror as if focuses on the domestic story and draws audience sympathy for the boy and the family. After an hour, things become rather more creepy with a couple of jumps, threats to the family and a revelation of what was going on in the haunted house.

In the United States, the classification is PG 13 which indicates that it is not alarming or disgusting as too many other horror films are.

1.A horror film for most audiences? Scares, shocks? The religious dimension? The supernatural?

2.The alleged true story? The similarity to The Amityville Horror? Sara and her TV testimony at beginning and end? Her vouching for the truth? Her final words about God, mysterious ways, miracles?

3.The ordinary American setting, the open landscapes, the town, the old house, the hospital? The musical score and atmosphere?

4.The visuals of the house itself, a haunted house? The beliefs, superstition? The credulity of the audience in believing that this could be true? Gullibility?

5.The prologue: the photos, the sense of mystery, the undertaker, the photos of the dead, the emotional response to the people in the photos? The séance, suspicions, communication by the dead, the numbers on the bodies, necromancy? Jonah, his role in the house, in the séances, as a medium? Ramsay Aikman and his sinister presence? Sinister practices?

6.Matt Campbell, his age, having terminal cancer, the concern of his mother, riding in the car, his being sick, the treatment, radiotherapy? The bond with his mother? Distance from his father? His brother and sister, cousin? His experience of treatment, his needs, with his parents?

7.Sara and Peter, their loving relationship, Sara as serious, intent that her son should live, Peter and his past drinking, reform? The issue of the house, closer to the hospital? Her making the decision, the phone calls to Peter? The decision to move, his maintaining his job, driving on weekends, selling the truck, paying the mortgage and bills? His promise not to drink again? The temptation, his falling, his coming, angry, to the house when drunk? Sara’s reaction? The issue of the house, Sara searching, visiting, inexpensive, its look?

8.The moving, moving into the rooms, settling down, Matt taking the basement, the mystery of the locked door, his wondering what was on the other side?

9.The bumps in the night, the glimpses of strange characters in mirrors? The theory by the Reverend Popescu about ordinary people not seeing the dead, Matt and himself seeing people near the edge between the ordinary and the extraordinary? How true could this be?

10.Matt and his treatment, the doctor, lying about his hallucinations, the doctor discovering the truth, the medical treatment? The medical explanations? Not enough for what was happening?

11.The Reverend Popescu, his illness, at the centre, talking with Matt? The story of his wife, her cancer, grief? Matt relying on him? His religious perspective? His visit to the house, his explanation? Sara arriving, ousting him? Her later calling him, her appeal to him? The mystery, the information, his prayer, thinking about the solution? Realising that he had misinterpreted, his urgent phone call?

12.Mary and Billy, playing? Bored? Hide-and-seek, the dumbwaiter, the cupboards? Being trapped? Wendy, her help? The library research, getting the information of what happened in the house, having the shower, missing the phone call? Fears?

13.The research and information, the home as a funeral parlour, the bodies, Aikman and his behaviour, the séances, the flashbacks to these incidents, the role of Jonah? Jonah and his continually appearing to Matt? Taking possession of Matt? Jonah as a medium, experiencing the cruelty of Aikman?

14.Reverend Popescu’s realisation of what had happened, Jonah as suffering, his appearance, his needing to be freed?

15.Matt, going back to the house, searching the house, finding the bodies, the dead and their rage, surrounding him?

16.Matt and his deterioration, in his room, his dreams and imagination, Jonah, the numbers on his body? Leaving the hospital?

17.Peter, the crisis, his anger at the lights on in the house, smashing things? His coming back to the hospital?

18.Sara’s explanation, Matt’s complete cure, the mysterious ways of God and miracles?