THE GO MASTER

China/ Japan, 2006, 104 minutes, Colour.
Chen Chang, Sylvia Chang, Akira Emoto.
Directed by Zhuang Zhuang Tian.

‘Zen’ was a helpful suggestion to keep in mind while watching this film. It is a meditative kind of film with moments of contemplation: of the game of Go (a traditional Chinese game that many liken to chess), of prayer, of the beauty of the Japanese countryside, of the simplicity of life of the central character.

The central character, who is glimpsed at the opening of the film at age 92 with his wife, is Wu Qingyuan, a Chinese expert at the game of Go. Born in 1913, he showed skill at the game and was sent to Japan in the 1930s where he began to win competitions. A simple, even naïve young man, he is befriended by a spiritual and Go master and his wife, suffers from bouts of TB, begins to win the principal competition in the late 1930s and continues as a master during World War II (actually playing in Hiroshima as the bomb fell with the referee urging the players to continue the game) until 1955. He remained in Japan, married and had a child.

His naivety was manifest when he became a devout member of a religious sect. It flourished until the priestess became corrupted by what one character calls ‘delusions of grandeur’ and the sect is attacked and is dispersed.

Captions appear throughout the film highlighting the political realities in Japan. Captions also appear with some reflections by Wu on what was happening in his life and in his commitment to Go. These are more than helpful since the style of the film, while slowly-paced, moves from one episode to another without filling in gaps in any detail.

Demanding close attention, this is a tribute to Wu but, Zen-like, the film observes some moments of the Go games but leaves it to the audience to respond without learning anything of the way the game is played.

1.The biography of the Go Master, Wu Quing Yuan? Tribute to him?

2.The Japanese settings, the Chinese perspective?

3.Television photography, during the periods of the 20th century? The interiors of the houses? The exteriors of the countryside, the coast? The score?

4.Go as the traditional Chinese game, audience knowledge and lack of knowledge, the games, seen only in clips and from afar? The competitions? The perspective of the film not wanting the audience to know necessarily anything about the game?

5.The captions and the information about 20th century Japanese and Chinese history, clashes? World War Two? The clips of autobiographical information from Wu?

6.Religion and faith, the sect, taking over a person’s life? The priestess, her leadership, her character, her sense of importance, delusions of grandeur, the clashes? The guide and his wife and their inspiration to Wu for faith?

7.Wu, his birth in China, growing up, his skills as a child, going to Japan, the 1930s, winning competitions, the help from his friends, especially from Segoe and his wife? His character, his illnesses, tuberculosis, in the sanatorium, recovery?

8.Segoe and his character, his guidance, faith and prayer?

9.Jikou, her character, her place within the sect, her influence?

10.The games, the history of Japan, China, World War Two, the dropping of the bomb in Hiroshima? The referee urging to continue the game? Post-war, hunger, the soldiers attacking the sect? Their migration, along the coast? Wu and his wanting to get into the truck, going to prison?

11.Jikou, her vanity, her destruction of the sect?

12.The 1950s, Wu and his wife, the birth of the child, winning the competition after seventeen years?

13.His retirement, the motivations?

14.The contemplative style of the film? The Zen perspective?

THE MIRROR HAS TWO FACES

US, 1996, 121 minutes, Colour.
Barbra Streisand, Jeff Bridges, Lauren Bacall, Mimi Rogers, Pierce Brosnan, George Segal, Brenda Vaccaro, Austin Pendleton, Elle Mac Pherson.
Directed by Barbra Streisand.

A crowd-pleaser with laughter and tears, star turns and a nice feel about it. And it's largely the work of Barbra Streisand who stars, directs, produces and has composed some of the score. She is Rose, an English professor with a winning way with students and some theories on romantic love - but she lives at home with her exceedingly vain beautician mother, Lauren Bacall. He, Greg (Jeff Bridges) is a bright maths professor who bores his class stiff but who finds romance and intellectual compatibility with Rose. The stars play well off each other and Lauren Bacall offers a clever parody of her image. It may be more than a little implausible, but who would be a spoil sport to deny that it is very pleasing light entertainment? Old-fashioned romantic comedy.

1.The work of Barbra Streisand? Her starring role (and her transformation from ugly duckling to glamorous)? Her direction? The music, the song?

2.An American feelgood movie? A contemporary fairy tale? Credibility as realistic story? Credibility as fairy tale?

3.The original story being a French film, the adaptation of the French story to American characters and conditions?

4.The visuals of New York, the city, the apartments, the streets, the university? Authentic and real? The musical score, the range of songs?

5.The theme of love and romance? Rose's lecture, the theme of courtly love, the difference between courtly love and marriage, love with passion? Rose dramatising her lecture? The contrast with Greg, his hearing the lecture but not hearing it? A man of theory and facts?

1.The film references, Casablanca, Brief Encounter, Lawrence of Arabia? The musical score – and the final theme song?

2.Greg, mathematics, his boring lectures, back to the students, writing on the board, the class and their reaction (and his puzzle about students staying or not)? Leaving early, going to the launch of his book, his speech about his book taking fourteen years, Henry and his advice, his plan, the speech, Candice arriving, his distraction, her legs? His speech becoming a mess? With her, his asking advice of Henry, going home with her? Discovering her stances, using him to make her boyfriend jealous?

3.Greg’s decision about friendship, platonic love, sexuality? His phone call, the bored answerer, her advice about an advertisement?

4.Rose, her appearance, at home, the tensions with her mother? Claire’s wedding, the preparations, makeup, her dress? The ceremony, Doris and her friendship, chatting? Possibilities? The ugly duckling – but later, with her mother, the hairpiece for the outing with Greg and the irony of its blowing off in the taxi? At home with her meals? Her mother showing her the photo, the pretty baby, herself?

5.Her lecture, the class and their listening? Ideas? Enjoying it? Greg phoning her, her half-listening, the decision to go out? Going to the concert? The meal, her mother fixing up her hair, the taxi ride? Greg’s presuppositions about relationships? Their talking, her interest in maths, asking him to explain things more clearly? Greg and his lecture? Her interest in baseball, her explaining it to Greg, in mathematical terms, his using it in the class, the class actually responding – and staying? The further dates?

6.The progress, going out, talking, romantic love, not sexual love? Rose and her disappointment? Watching Brief Encounter? Lawrence of Arabia and his going to sleep? Alex and his unwanted attentions to her?

7.Claire, sister, confident, placing the ad, answering the phone to Greg? The wedding, love for Alex? Alex and his former love for Rose? The meeting, the meal? Claire and her exasperation? Rose lying about Alex?

8.Her mother, talking about burying her husband, raising two daughters, her work as a beautician, her criticisms of her daughter, fixing her hair? Sardonic remarks? Her dependence on her? Greg arriving for the meal? Her emphasis on manners? Greg and his taking Rose’s side, informal eating? The mother asking him his intentions?

9.The sketch of Doris, friend, confidante? Support?

10.Henry, friendship with Greg, his girlfriends, at the launch of the book, at the concert?

11.Barry, Rose not wanting to go out with him, wanting to watch the baseball, later meeting him with his fiancée?

12.The girl student with her crush on Greg?

13.The issue of romantic love and sex? Rose and her disappointment, Greg and his change of attitude? The beginning of full love? Dancing in the New York streets?

14.the title, images, reflections?

FIRST SUNDAY

US, 2008, 98 minutes, Colour.
Ice Cube, Tracy Morgan, Loretta Devine, Michael Beach, Keith David, Regina Hall, Malinda Williams, Chi McBride?.
Directed by David E. Talbert.

This is a particularly local film and does not travel too well beyond the ‘hoods of the American cities.

It has its heart in the right place and is an African American comedy drama that serves as a moral fable about violence and robbery as anti-social. It has more than a dollop of religion. It is a variation on the inspirational movie for its target audience: poorer black families in the suburbs and their children.

The style and sensibility are distinctive and could prove popular to groups in other countries who find themselves ghettoised as well as targets of overt or hinted at racial prejudice.

Ice Cube as actor has been appearing in more and more of this kind of film and has his own company Cube Vision who produced First Sunday. He plays a Darrell, a man who has spent a lot of time in homes and gaol and who can’t settle down, a lot of the fault being his school friend Lee John who gets them involved in harebrained schemes which finish up in court. Lee John is played by comedian Tracy Morgan (30 Rock and Saturday Night Live) who is often in your face – and you wish he would just shut up now and again! This is all highly extraverted stuff from most of the characters. Darrell doesn’t want his son to go with his mother to live in Atlanta, away from Baltimore. So, what do they do? Decide to rob the local church – and a more inept robbery on screen has yet to be seen.

But, you know it is going to end happily but may well be wondering how. There is lots of exuberant African American religious music, clapping and dancing, praying and quoting the Gospel. There is plenty of forgiveness and making amends – and in 2008 a glimpse of a lot of people who will vote for Barak Obama.

1.The target audience for this film? African Americans? Americans concerned about life in the city ghettos? About crime? About inspiration and reform?

2.The Baltimore settings, homes, streets, the church? The musical score? The use of Gospel music?

3.The title, the reference to the church, the importance of the church?

4.The focus on Durell and Lee John? Their characters, Durell and his seriousness? LeeJohn? and his constant patter? Friends since schooldays? Their schemes together? In court, in prison? The dependence on each other?

5.Durell, love for his son, separation from his wife? Her harsh attitudes, her work, beauty, the clients at home? Her wanting to move to Atlanta? Durell and his son, the boy not wanting to go to Atlanta? Durell making the promise?

6.Jobs, Lee John and his scheme, the television set, Durell and his honesty, being sacked? The collage of trying to get jobs, his being rejected? Lee John and the scheme with the wheelchairs, the Jamaicans, the threats? The chase by the police, the chairs being lost, the arrest? Going to court – and the performance of the attorneys, the attitude of the judge? His keeping everybody quiet? Sentencing them to community service?

7.Going into the church, the hymns, the energy of the conductor? The deacon, the money? The pastor and his presiding? His sermons, hope? The people in the church? Sister Doris? Tianna and her father?

8.The decision to rob the church? Getting in, everything going wrong? The most inept robbery? The safe, the explosion? The encounter with the deacon? His hedging? The meeting with Sister Doris, her concern, the little boy she cared for? The exasperation? Their having to go into the church? Durell and his declaring it was a robbery? Tying up the pastor? The reaction of Tianna? The reaction of the deacon? The opening of the safe, the money missing? Suspicions? Everybody being interrogated?

9.The blind and deaf handyman, his finding the money? The deacon, his reaction, his lies?

10.Everybody hot, Durell’s ability with machinery, his fixing the air-conditioning? His son ringing, answering him, helping him with his own electronics? The reaction of the group, the various people and their being hot, then sympathetic, the food and Doris providing it? The discussions? Tianna and her tough stances? The police outside, wanting to investigate, their being put off?

11.The reality of what happened to the money, the deacon and his documents, falsifying them? Tianna discovering them?

12.The plan, the sympathy of the congregation, the pastor, untied, helping the two get out of the church, their being pursued? Being taken?

13.In court, the reaction of the congregation, Sister Doris and her support, the boy? The judge and his exasperation? The lawyers and their performance? The deacon and his wanting to be a witness? Tianna, the documents, the expose? The judge throwing the case out?

14.The congregation giving the needed money to Durell, the money for his wife to stay? His visit, her agreement, his son’s happiness?

15.Lee John, his character, the stand-up comedy, his patter? His friendship with the boy, with Sister Doris?

16.African American humour, American style – how well did it travel beyond the cities?

THEY

US, 2002, 89 minutes, Colour.
Laura Regan, Marc Blucas, Ethan Embry, Dagmara Dominczyk, Jon Abrahams, Alexander Gould.
Directed by Robert Harmon.

They is a modest thriller, a horror story which relies on the characters as well as the audience being afraid of things that move and go bump in the night. The film opens with a young boy terrified that “They” would come to get him after the lights were turned out. They do. He grows up to be a tormented young man. He confides in his friends, especially Julia (Laura Regan) who is studying psychology. As events open up, the two friends are pursued by “They” and soon Julia herself is attacked. She goes to see a psychiatrist and relies on the help of her boyfriend (Marc Blucas). She also gets the advice of her psychology professor.

There are many scares, the heroine is tormented – especially with a chase in the New York subway. Mysterious creatures emerge and disappear. However, unlike so many other films, the film ends very unhappily with the heroine trapped in another world crying out for help but unheard.

The film was directed by Robert Harmon who, in the 1980s, made an impact with his film, The Hitcher. He worked in television, made a number of films for television and a series of Jesse Stone telemovies with Tom Selleck based on the novels by Robert B. Parker.

1.An entertaining thriller? Horror story? Mysterious creatures? The darkness and the night?

2.The prologue, the young boy, his mother, reassuring him? Searching under the bed? His fears? Lights out, the noises, the terrors? The effect on him as he grew up?

3.The New York settings, apartments, studies, psychiatrists’ offices? The use of the New York subway? The streets? Restaurants? The musical score?

4.The title, the visualising of the creatures, suggestions, lizard-like, tentacles …? Causing fear? The marks on the victims?

5.Julia, her studies, her relationship with Paul, going out with him, comfortable with him? The roommates? Their brash attitudes? Her being called to meet Billy, his torment, the restaurant, his shooting himself? His later haunting Julia?

6.The funeral, meeting Sam and Terri, Sam and his insensitivity? Terri and her concern? Sam and his art, Terri and the relationship? Her friendship with Julia, the explanations? The discussions about Billy? Terri, the swimming, her being terrorised, her disappearance? Sam, his mark, the creatures pursuing him in his gallery, his escape?

7.Julia, her becoming unnerved? The discussions with Paul? The nightmares and her fears, attacking Paul? Going to the professor, the discussions, night terrors?

8.Julia, the attack, her dream, being in the subway, the terrors of the trains, the creatures trying to drag her away, the red light? In hospital? Going to the institution?

9.Her being reassured, the doctor and Paul waiting? Her disappearance? Her being behind the room, her being able to see out, people not being able to see in? Her being in the dark tunnel with the creatures? Her crying out for help? The door closing?

10.The eeriness of the ending? A hellish situation? The overall effect of the ending on the thriller and its horrors?

DOCTOR AT SEA

UK, 1955, 93 minutes, Colour.
Dirk Bogarde, Brigitte Bardot, James Robertson Justice, Maurice Denham, Michael Medwin, Hubert Gregg, Raymond Huntly, Geoffrey Keen, George Coulouris, Joan Sims, Brenda de Banzie.
Directed by Ralph Thomas.

Doctor at Sea is the second of the films based on Richard Gordon’s best-selling comedy novels about the medical profession. In 1954, the ensemble, led by producer Betty Box and director Ralph Thomas, had a great success with Doctor in the House. Dirk Bogarde emerged as a romantic lead for comedies. He also made Doctor at Large and Doctor in Distress. In the other Doctor films, Michael Craig appeared in one and Leslie Philips in two.

This is all predictable material – but done in an entertaining way by the very British-style dialogue, cast, performance – along with Brigitte Bardot early in her career as the leading lady. James Robertson Justice usually played Sir Lancelot Spratt in the Doctor films. This time he is Captain Hogg. A very good cast of British character actors appear in support, especially Joan Sims who was to make her name in the Carry On series and Brenda de Banzie.

1.The popularity of the Doctor series? From the 1950s? British comedy? The characters, the dialogue, the touch of innuendo?

2.Dirk Bogarde as Simon Sparrow, the romantic English lead? His work in practice, his partner going to golf, trying to marry him off to their daughter Wendy? His deciding to go to sea? His work on the boat, Easter as his assistant? Captain Hogg and his demands, uniform, medicines, pills to calm him down? The other officers? Life on board? Going ashore? The encounter with Helene? Ending up in prison after drinking with Archer? Their being freed? Back on board, Helene in his cabin? The encounters with her, with the captain, the captain being plagued by the owner’s daughter? The happy ending?

3.Brigitte Bardot, her screen presence, Helene, in France, on board, with the men? The very minor sex kitten in the British comedy compared with the French films of the time?

4.Easter, his being a jack-of-all-trades? Supporting Simon? His wife on shore? In prison?

5.Captain Hogg, the blustering in the James Robertson Justice style?

6.Sublieutenant Trail and the other officers? On shore? On board? Archer, prim, his drinking, prison? Hornbeam and the more serious members of the crew?

7.Carpenter, his illusions, seeing dogs? Noel Purcell as the tall sailor – and the classic scene of his bent back and standing upright when he saw Brigitte Bardot? Raymond Huntly as Captain Beamish and his relish of passing on the owner’s daughter to Captain Hogg?

8.The owner’s daughter, Brenda de Banzie and her style, dominance, taking everything for granted – and the possibility of becoming engaged to Captain Hogg!

9.Popular ingredients and the British comedy style of the times?

TARGET

US, 1985, 117 Minutes, Colour.
Gene Hackman, Matt Dillon, Gayle Hunnicutt, Guy Boyd.
Directed by Arthur Penn.

Target is an interesting 80s espionage film. It was made four years before the
Berlin wall came down – though there seem to be no indications of changes in Soviet policy or the wall actually coming down and Germany being united. It harks back to activities of the 1960s in which the central characters were involved, shown in films like The Quiller Memorandum and The Kremlin Letter of that period. They are looked back on as the heyday of Cold War espionage.

Gene Hackman portrays a former CIA agent who has retired for the preservation of his wife and son. He works at a company in Dallas. His son, played by a young Matt Dillon, has no great confidence in his father. Gayle Hunnicutt is his wife. When she goes on a trip to Europe, she is abducted by former agents. However, a gunman has been hired to kill Hackman. With his son, bonding, the two pursue their leads through Paris, Hamburg and Berlin and into East Germany.

The film is colourful in its use of the city locations in which it is set. Gene Hackman is expert of this kind of performance. He is low-key at the beginning – and then suddenly goes into action which shocks the audience and later shocks his son. Matt Dillon had been performing in films for five years, especially the versions of S.E. Hinton films including Rumblefish, Tex and The Outsiders. He was to continue a very successful career for several decades.

The film was directed by Arthur Penn who had directed in The Golden Years of Hollywood television, moved into features with such films as The Left-Handed? Gun, The Miracle Worker and achieved some fame and notoriety with Bonnie and Clyde. He directed Hackman in Bonnie and Clyde as well as in the thriller, Night Moves.

1.An entertaining espionage story? From the Cold War period? From the 1980s? The credibility of the plot, characters, espionage? Exposes?

2.The range of settings and the feeling of authenticity: Dallas, the lumber yard, homes, racing car tracks? The contrast with Paris, the streets, hotels? CIA offices? Hamburg, the river, the bridge? The car chases? Berlin, hotels, the contrast with East Berlin, the checkpoints? The musical score?

3.The title, the focus on Walter Lloyd as a target? By Taber? By Schroeder?

4.The setting of the characters: Walter Lloyd, slow, the lumber yard, very ordinary, hesitating, driving slowly? Donna the excitement of going on the trip, going by herself? Her bond with her husband, with her son? Chris, with the racing cars, thinking he was a disappointment to his father, helping with the packing? The decision to bond, his agreeing to go fishing with his father? The catch, losing it? The phone call about his mother being abducted?

5.The trip to Paris, Chris and his urging his father to go? The arrival, the airport, Chris and the distraction by the young backpacker? Walter, the jewellery in his pocket, the gun at his back, the assassination, his ducking, the other man killed? Saying it was a heart attack? Calmly meeting Chris, their going to the hotel? The surveillance, the phone call?

6.The truth, Chris following him in the street, saving his life from the assassin? Walter explaining himself? His going to the CIA, disguising his presence, the confrontation with the assistant, summoning to the hotel, not telling Chris the truth? The meeting with Taber in the office? Walter and his covering his tracks? The revelation that he was Duncan Potter, Duke? That Chris’s real name was Derek Potter?

7.Leaving Paris, the hiring of the car, the chase, Duke and his rapid driving? The pursuit, the quarry, coming on the agent, the gun, sending him back?

8.Tabor, Clay, the clashes with Duke? Tabor and his offering assistance? Surveillance? Duke and Chris eluding him? Going by train to Hamburg?

9.Hamburg, meeting Lisa? Lisa and the memories of the past, not marrying Duke, Chris listening? The address for the colonel, the visit to the colonel? The discussions about Operation Clean Sweep? Schroeder not being arrested? The massacre of his family? A possible motivation for the abduction, for the pursuit of Duke?

10.The chase through Hamburg, the warnings at the station, the clues, Duke missing them, the car, Chris and the driving, Duke escaping, the boat, in the river?

11.The assassin, killing the nurse, torturing the colonel? The information?

12.Duke going to Berlin, the address? Chris, the encounter with the girl, going to Berlin? With her in the hotel? Going to his father? Her arrival, flirting, the arrival of the assassin, her gun?

13.Duke, relying on Chris? Chris and the girl? The assassin, the attempt to kill Duke, his killing him? Chris pushing the girl out of the way?

14.Duke going into East Berlin, the meeting with Schroeder, the confrontation, the massacre, Schroeder’s anger? Duke and the realisation there was a double agent? The plan?

15.The phone call to Chris, with Tabor, Tabor and Clay coming with him? The set-up with Donna, the explosives? The agent of Schroeder hiding? Tabor and his anxiety? His shooting Clay? Schroeder’s arrival, the revelation of the truth, the confrontation with Tabor? The explosion and Tabor and Schroeder dying?

16.The family, escaping, together? The importance of the theme of family? In the context of Cold War espionage?

THE BIG KAHUNA

US, 1999, 90 minutes, Colour.
Kevin Spacey, Danny De Vito, Peter Facinelli.
Directed by John Swanbeck.

The Big Kahuna is based on a play by Richard Rueff who adapted the play for the screen. However, he kept most of the dialogue and confined the action to one room. However, while the dialogue is strong and the film gives the impression of being talky, he has opened up the discussions and also used some of the rooms of the hotel as well as the view from the hotel to broaden the scope. The film is a first-time direction work by John Swanbeck.

Kevin Spacey produced the film and takes the central role of the salesman who comes to Wichita to do a pitch about oil lubricants. Danny De Vito plays his associate. Peter Facinelli plays the young man who has been asked by the company to join them and learn by experience.

The film is an exploration of character via the interactions of the three men. Kevin Spacey’s Larry seems very self-assured, is blunt in his manner yet proves to be very direct and an honest and trustworthy person even though he is so fully committed to his work. He is friends with Phil, played by Danny De Vito, and has difficulties in dealing with Bob, played by Peter Facinelli. Danny De Vito has one of his best roles as Phil, world-weary in his way, doing his job, very conscious of character and trying to instruct the neophyte Bob in the ways of developing character. While he is exasperated often with Larry, he stands by him as an honest the good friend. Peter Facinelli also has a good role as Bob, the earnest Christian Baptist who tries to preach his faith, mistakenly thinking that he is being sincere while he is doing a pitch for religion – and as Larry points out, a pitch is insincere, whether it be religious or for lubricants.

The film shows well the interactions of the three men and moves to an interesting conclusion. Phil is older and wiser. Larry has had a challenging experience. We see Bob finally talking to the tycoon whose contract the salesmen want – as he looks at Larry, he smiles. However, it is an enigmatic smile.

The film takes up something of the same material as David Mamet’s Glengarry Glenross, in which Spacey also appeared. However, that is an intense drama in the office amongst salesmen whose lives and careers seem to be on the skids and are bullied by executives. For a female version of this kind of story, the 1999 Business of Strangers with Stockard Channing and Julia Styles can be seen.

1.The impact of the film? The world of business and sales? The values of salesmen? In their job? In their life? Challenging the meanings of their lives?

2.The film as a play, the work of the author, opening it up, retaining the dialogue, the director staging so much of the action in the one room? The hospitality suite?

3.The photography, close-ups, the rooms, the views, the hotel, the musical score?

4.The title, the salesmen and their wanting to catch the big fish? Their hopes, the hooks? The commentator who remarked that the film was like a Waiting for Godot of the business world?

5.Audiences identifying with the situations, the characters, their stances?

6.The strength of the dialogue? Phil and his weariness, his broken marriage, his job, his abilities, humane, stopping drinking, still smoking, the various clashes with Larry, but admiring him? Larry as smart, clever, blunt, challenging, frustrated, honest? Bob as young, naïve, ingenuous, admiring Phil, scandalised by Larry, his role models, his marriage, love for his wife, religion, ability to talk about Jesus, a Baptist, evangelising the millionaire?

7.The situation, Phil and Bob in the hospitality room, setting it up, their hopes, the nature of the business, lubricants? Larry’s arrival, the swagger? The tray, the lift, the entrees, the sixteenth floor? Larry critical of the preparations, the cloak stand and moving it, the communication opportunities? Hotels and conventions?

8.The portrait of Phil: Danny DeVito’s? performance, good man, his past, work, his taking Bob under his wing, the partnership with Larry for many years? His sense of frustration? The penthouse, supporting Bob, arguing with Larry? The meal? Giving up the drink? Having a smoke? The scenes of the party and his going out – and his imagining himself flying and dying? The fact that there was no deal? Bob going out, waiting, his final lecturing of Bob, defence of Larry? His future?

9.Larry, his age, experience, his marriage, fidelity to his wife, his way of talking, coming and in criticising the hors d'oeuvres, the coat stand? His bluntness, especially towards Bob? His stories, defiance? Phyl vouching for him? Going to the bathroom? Imagining himself and the self-image? Bob, waiting, talking to Bob, especially about Jesus? About business? His finally looking at Bob before he left?

10.Bob, young, dapper, looking to Phil as a role model, meeting Larry, put off by him, critical of him? The discussions with Phil about religion, his wife, his faith? The party, going to the bar, imagining himself as the friendly barman? The party, talking with the guest? His return, explaining what he had done? The fact that he had not raised the lubricants? His being hurt? Larry’s criticism, his self-defence and defiance? Phil’s criticism of him, especially in talking to him about character? His finally talking to the man the next morning – his look at Larry, his smile?

11.Bob’s return from talking with the millionaire? The talk about Jesus? Larry’s remark about what kind of lubricant Jesus would have endorsed? Bob seeing all things in relationship to Jesus?

12.Phil’s talk to Bob about character, Bob being shamefaced, Phil and his sincerity, explaining the honesty of Larry, talking about inner character and developing it over years?

13.Bob, the morning, talking with the prospective client, looking at Larry, Larry watching him, the suggestion of a smile?

14.Insight into the lives and pressure of and pressures on salesmen? A deeper exploration of human nature through interactions, declarations of principal?

ALVAREZ KELLY

US, 1966, 116 minutes, Colour.
William Holden, Richard Widmark, Janice Rule, Patrick O’ Neal, Victoria Shaw, Roger C. Carmel, Richard Rust, Arthur Franz.
Directed by Edward Dmytryk.

Alvarez Kelly is more of a drama than a western. It is set in the Civil War, allegedly based on a true story about cattle being moved from Texas to the east for the Union and Confederate attempts to steal the cattle.

William Holden is Alvarez Kelly, born in a Mexican city, part Irish descent, who droves the cattle. Richard Widmark is a Confederate colonel. Janice Rule is his fiancée, someone who wants to leave the besieged Richmond and enlists the help of William Holden. Patrick O’ Neal is a former lawyer who is now a Union major. Australian Victoria Shaw appears as the widow who helps the South.

The film is spectacular in its moments of presenting the cattle. There are many droving sequences and a final confrontation between the Union and the South.

William Holden and Richard Widmark were beyond their hero days but offer solid presence. The film was directed by Edward Dmytryk who had been blacklisted and went from Hollywood after successful films like Murder My Sweet and Crossfire to work in England. However, he returned to the United States in the mid-50s and made a number of significant films like The Caine Mutiny and The Young Lions as well as a lot of popular films like The Carpetbaggers.

1.A story of the Civil War? The presentation of North and South? The need for food and cattle?

2.The Texas settings, the eastern settings? The atmosphere of Virginia in 1864? The open spaces? The city, the interiors?

3.The stars, their screen presence, their careers?

4.The opening, the cattle from Texas, Major Stedman and his arrogant stances? The demands on Kelly, the money, bringing the cattle east? The long trek, the trains?

5.Alvarez Kelly, a western hero, his story about his father in Texas, his Mexican background? The war with Mexico? His being open to all sides, the importance of the money? His being abducted by Rossiter? Their confrontations, Rossiter’s demands about the cattle, Kelly’s refusal, Rossiter shooting his finger? Threatening to shoot the rest? Kelly consenting?

6.Rossiter, hard, the loss of his eye, the relationship with Liz Pickering? His commitment to the South? Ruthless aspects? The importance of Harrison and his support?

7.Kelly, in the town, the social, dancing with the ladies, the meeting with Liz Pickering? The rivalry with Rossiter? Going to her home, shaking off his shadow? Going via the brothel? The meeting with Liz at the restaurant? His paying the money for her to take ship to New York? The observer thinking that he was paying for himself? The discussions with the Scots captain, the whisky, his running the embargos?

8.Rossiter, the confrontation with Kelly, learning the truth about Liz? The determination for the plan to succeed?

9.Rossiter and his confidence in his men, Kelly proving that they were inept, unable to control the cattle at all? The training?

10.The plan, the observations of the Union, Stedman and his understanding of the plan? Grant and his seeming refusal? His wanting the southerners to come into the trap?

11.The action of the southerners, the cattle, the bridge and its explosion, the river? Kelly and his advice? The help of Charity Warwick? The capture? The trick and the South surrounding the Union? The further attack, the fight? Kelly saving Rossiter?

12.The finale, an episode of the Civil War? The background of logistics and food compared with the battle sequences?

HIGH SCHOOL MUSICAL 2

US, 2007, 104 minutes, Colour.
Zac Efron, Vanessa Anne Hudgins, Ashley Tisdale, Lucas Grabeel, Corbin Bleu, Monique Colman, Mark L. Taylor.
Directed by Kenny Ortega.

Encore.

This film reruns High School Musical which was an extraordinary success for the Disney Channel in 2006. The ratings were very high. Stage productions were mounted and there were tours over the United States and in other countries around the world. This sequel gathers together the same characters and puts them in a holiday situation rather than term time. The plot is much the same. High School Musical 3 was slated for release in 2008.

1.The popularity of the original film? The young people, singing and dancing? The traditional musical?

2.The repetition? The high school, the vacation, the resort?

3.The musical score, the range of songs, for Troy and for Gabriella? The ensemble songs? For Sharpay, for Ryan?

4.Troy, family background, Gabriella? His friendship with Chad? Sharpay and her aiming at him? His work, the group going to the resort? The plans for putting on the show? His being feted, Sharpay arranging things, his being on the golf course, in the restaurant? The possibility of the scholarship, his father’s support? The Evans family and their support? His having meals, playing golf, his clothes, Italian shoes, the golf buggy? His being above himself, the treatment of his friends? The others challenging him, Gabriella, Chad? Talking with his father, playing basketball, coming to his senses, his songs? Reunited with Gabriella? Sharpay being outwitted? The happy ending?

5.Gabriella, a more minor role, at work, in the swimming pool, her being sacked? Hurt by Troy, the confrontation, singing with him at the end?

6.Sharpay, always scheming, self-confident, her treatment of her brother? Manipulating Mr Fulton, her father? Wanting Troy to sing with her? Putting on the show? Her reliance on Ryan – then insulting him, alienating him? The final song, her humiliation?

7.Ryan, stupid in the first film, supporting Sharpay, her telling him off, his going over to the other side, the choreographer? The song with the contrast between dancing and baseball – and the baseballers all joining in, the choreography, the parallels with dancing and baseball movements? His final triumph at the end?

8.Chad, at work, friends with Troy, feeling put off, challenging him?

9.The other members of the group, Taylor McKessie? and her spying, reporting?

10.Mr Fulton, manipulated by Sharpay, his hard lines on the workers?

11.Mr Evans, his support, Mrs Evans, believing Sharpay?

12.The popular ingredients – song and dance, sympathetic hero and heroine, the self-confident villain, the hero having to question his own identity. Popular themes for a teenage audience?

END GAME

US, 2006, 99 minutes, Colour.
Cuba Gooding Jr, Angie Harmon, James Woods, Patrick Fabian, Peter Greene, Jack Scalia, Anne Archer, David Selby, Burt Reynolds.
Directed by Andy Cheng.

End Game is a routine conspiracy thriller involving the president, his wife, the Secret Service and special agents.

Cuba Gooding is a confidant of the president and his wife, on active service when the president is assassinated. James Woods is in charge of the Secret Service. As the plot emerges, ex-CIA agents are involved in the assassination. Peter Greene, a villain in so many films, is the agent here. In supporting roles are cameos by Jack Scalia as the president, Anne Archer as his artist wife, David Selby looking rather decrepit as an alcoholic tramp and Burt Reynolds as a general. Angie Harmon portrays a Pulitzer Prize-winning investigator on the job.

The film is quite routine in its presentation of characters, dialogue and interactions – but not all that bad for those wanting an enjoyable hour and a half thriller. There is something of a surprise at the end. As the president’s wife remarks, it all depends on what perspective you are looking at.

The film was directed by stunt director Andy Cheng.

1.The popularity of this kind of thriller? Conspiracy? American president? Secret Service? Agents and reporters, heroics?

2.The Washington settings, the president and his entourage, the Secret Service, officers? Firms, warehouses? Homes? The water? Musical score?

3.The focus on the president, his cheerfulness, the cheque to Alex Thomas, with his wife? Greeting the crowds, the sport? His being shot? The television footage and its being played over and over? Alex Thomas and his wound in the hand? Being approached by Kate Crawford? The hospital, being congratulated by Vaughan Stevens? The other agents? Consoling the First Lady?

4.The background of the president, the revelation that there was to be a divorce? (The post-Clinton era?) The president’s wife greeting the crowd? At the hospital, a moment to herself? Her mourning, the funeral? Her painting, the mysterious woman? Relationship with Stevens? Alex visiting her? Her painting – and her advice to look from a different perspective?

5.Alex, the loner, his reaction to Kate? The evidence? Their working together, the threats on the boat, the explosion? Going to Vaughan, asking for more men? The support of Brian Martin? The clues about Jack Baldwin, following through, the warehouse, the shootout? The deaths of the agents? Going to the president’s wife? The final revelations, the confrontations? The death of Stevens?

6.Vaughan Stevens, the James Woods character, his friendship with the president, the relationship with his wife, his supervision, the TV evidence that he gave the gun to the killer, his suicide or murder?

7.Jack Baldwin, his team, the assassination, the killing of Shaky Fuller, the blowing up of the assassin’s mother’s house? The pursuit of Alex and Kate, blowing up the boat? The car chase? His being identified, the information, the confrontation in the warehouse? The hospital? The final attack, in the water, his death?

8.Shaky Fuller, the evidence, getting the money, taking Kate to the caravan site? His death?

9.The general, friendship with the president, confidant of Alex, his support, giving information about Stevens?

10.Kate, with her editor, questions, with Shaky, going to the site, going to the sister and the mother? The deaths? The attempt on her life? Working with Alex, persuading him? Her investigations, writing the article? The information about Baldwin? His trying to kill her?

11.Popular ingredients, audience interest in the president, Secret Service, assassinations, conspiracies?