PERMETTE? ROCCO PAPALEO

Italy, 1971, 120 minutes, Colour.
Marcello Mastroianni, Lauren Hutton.
Directed by Ettore Scola.

Italian writer Ettore Scola began writing in 1952, continuing till the early years of the 21st century. He began directing in 1964. As the 1970s and 1980s went on, he became much more of an international figure. Rocco Papaleo is one of his earliest films. Films which made an impact internationally included A Special Day with Marcello Mastroianni and Sophia Loren. His films of the 1980s made even more impact: Passion of Love, That Night in Varennes, Le Bal, The Family.

This film is about an Italian worker from Alaska who travels to Chicago, undergoes a series of adventures which transform his life – as well as reveal much about American society. Marcello Mastroianni is the hero, Rocco, and a young Lauren Hutton has a supporting role.

1. The work of Ettore Scola? Vision of Italy? Italian culture? Confronting the U.S.? Contrasts of cultures?

2. Colour photography, Chicago, the Italian viewpoint of the United States? Style and pace?

3. Marcello Mastroianni and his embodying Italy? Lauren Hutton as embodying the United States? Clash, love, interaction?

4. Marcello Mastroianni as Papaleo: his presence, background in Italy, American dreams, hopes, stories, sport, goals, fulfilment? As a man? As a symbol?

5. His pleasantness and niceness: reality, symbolism? Examples of his kindness and consideration, generosity, concern, naivety? Too good to be true? Enjoyable ? but irritating?

6. The accident and the fact, the help, the repercussions, gratitude, devotion, infatuation, obsession, alienation?

7. The American girl and the accident, reaction, concern, invitation? Her ordinariness and reaction to Papaleo? His presence? Protection, annoyance, alienation? Life, style, relationships? His intrusion? Reaction? violence?

8. The impact of the rejection and its effect?

9. Comic sequences? The contrast with things Italian and things American? Comedy, sentiment? A successful fable?

PONIRAH

Indonesia, 1983, 100 minutes, Colour.
Directed by Slamet Rahardjo.

Ponirah is an Indonesian melodrama. It was directed by actor Slamet Rahardjo. It is a lavish production, filmed in Panavision with atmospheric locations including the Indonesian countryside, provincial town and Jakarta settings. It is very reminiscent of Hollywood melodramas of the '40s and '50s - with the touch of the modern style in the final episodes with frankness and violence.

The film starts in the Soekarno era, moves into the '70s and '80s and has comment on traditional Indonesian way of life, the changes in post-war society and the strong westernisation of the Indonesians, especially in Jakarta. However, the film has a universal story and explores universal values.

1. An interesting and entertaining melodrama? A focus on women? Women's issues and oppression? Spanning twenty gears of contemporary Indonesian history?

2. Colour photography, use of locations and atmosphere? Panavision and the Indonesian countryside, towns, Jakarta? Editing and pace? Special effects? The atmospheric musical score?

3. The title and the focus on the little girl - who had no name but was given one by her adopted mother Trindel? The film opening with the anxiety about her birth? Her father's return. the mother dying in childbirth. her being neglected by her father, tended by her nurse, the love between herself and her brother? The rejection but the delight in playing with her brother? Her sense of responsibility with her brother's death? Her being banished by her father. coming in on him with his women? The journey with the nurse? Going on the road, the carnival, the prostitutes? Her growing up amongst the prostitutes? Her education? The teacher taking an interest in her, trying to find out information, photographs? The atmosphere of the prostitutes, her mother looking after her, her innocence? The attentions of the pimp? The clashes with her mother? Her illness? Ponirah's decision to go to Jakarta? The possible marriage? Her trying to be a woman of the world. her decision to become a prostitute. to get revenge? Her setting up the gangsters? The irony of her killing of her uncle trying to seek her? The legal case? The verdict on her? The portrait of a victimised young woman?

4. The social setting. the prologue and the train ride, the crowds in Indonesia. the anxious father, the birth of the child and the death of the mother? The picture of Indonesian families? The world of prostitution and exploitation? The white slavery of provincial girls going to Jakarta? Pimps and gangsters? The contemporary society and its vice and corruption? violence? The ugliness of the world?

5. The sympathetic portrait of Trindel? her work for Ponirah's father, her devotion? Her taking responsibility for the little girl, lining up for prostitution? Her being a skilled masseuse? Her contacts, her relationships with the girls, the mother figure? Her devotion to Ponirah, giving her a name, looking after her? The clash between the two, the misunderstanding, the hurt? Her hanging herself? A humane character and the pessimism of the portrayal of her life?

6. The portrait of Indonesian men - the devoted husband, yet his resentment of his wife's death. resentment of his son's death, his rejection of his daughter and nurse? The clientele of the prostitutes? The young man and his dealings with Trindel his being a go-between for the gangsters in Jakarta and the white slave traffic. his exploiting of Ponirah, her rejection of him, the change of heart, his passion for her. wanting to save her? The contrast with her uncle and his kindness when she was a child, his role as the teacher, her resentment of him in class. the irony that she killed him by mistake? A grim picture of male-female relationships?

7. The attention to detail - the children's games at the opening? The school sequences? The range of prostitutes with their problems and relationships? The train sequence in travelling to Jakarta? The Jakarta gangsters and their style? Nightclubs and the world of vice?

8. The violence of the ending and its impact on the audience? The pathos and the sympathy for Ponirah and all that she symbolised?

PAINTED DAUGHTERS

Australia, 1925, Black and White.
Directed by F. Stuart Whyte.

Painted Daughters was popular silent cinema entertainment of the mid'20s. Andrew Pike and Ross Cooper give a great deal of background to its production. While it had Australian flavour, "this was not meant to obtrude" and the film had the popular ingredients of the sophisticated comedies of the '20s.

The film has a show business background. This gives the possibilities for presenting a lot of glamorous girls, stage costume, production numbers. The sets and the costumes were quite elaborate - an echo of audience interest in the life of the wealthy.

The plot is quite melodramatic - in retrospect it seems quite hackneyed. There is the show business romance, the separation of the romantic couple and an unfortunate marriage, financial breakdown and suicide - and the attempt to reorganise the members of a dance troupe, the Floradora Company, for a final production. This gives the heroine a chance to meet her long lost love. In the meantime a new generation has grown up and fallen in love. There is a melodramatic fire at the ending - and the chance for a happily romantic ending.

Pike and Cooper also give some background to the sophisticated cinematic techniques used - from the opening with the painting by Father Time of the lips of the star and a DTs attack.

While of no major interest in plot and content, the film is interesting historically as indicating the tastes of the time and the developing techniques in Australia.

FORZA DEL PASSATO, LA / THE POWER OF THE PAST


Italy, 2002, 93 minutes, Colour.
Sergio Rubini, Bruno Ganz, Sandra Ceccarelli.
Directed by Pier Giorgio Gay

The Power of the Past is an intriguing Italian drama. Set in north-eastern Italy, it focuses on an author in midlife crisis. He encounters a strange characters who transforms him.

The author is played by Sergio Rubini, prominent director and actor, and Bruno Gantz, the German actor (remembered especially for Wim Wenders’ Wings of Desire, as well as portraying Hitler in Downfall).

1. The meaning of the title? Its relationship to Gianni? The relationship to his father? The truth and the lies?

2. The Trieste settings, the city, the port? The beaches? Authentic atmosphere? The musical score, the songs, the rock 'n roll, The Doors?

3. The focus on Gianni: as a 40-year-old, his life in crisis? His skill as a children's writer, the visualising of his fantasies, himself as the child in the stories? His winning the award, the woman asking for his help, his giving her the cheque? The encounter with his wife, his fear that she was having an affair? Love for his son? The encounter with Bogliasco, his knowing so much about him, wanting the autograph? Forcing him into the car, Gianni's nervousness, running away? His anxiety with his wife, urging them to leave the city? The holiday house, his decision to return? His inquiries about Bogliasco? Meeting him again, bringing back the case? The beginnings of the discussion? The revelation about his father, his unwillingness to believe? Bogliasco and the detail? Bogliasco looking after him, his encounter with the woman with the ill son, the coffee together, her gratitude, his attraction to her? Finding the note from his wife with the truth of the affair? His riding the motorbike, the accident, Bogliasco and his looking after him, to hospital? His mother visiting him in hospital, his trying to get at the truth about his father, his mother keeping secrets? His wife and the reconciliation, a lapse of memory? The focus on Gianni as a person, as a writer, his nervousness, the scenes with his son, with his wife? Alone with his music, the rock 'n roll?

4. Bogliasco, his mysterious presence, interest in Gianni, knowing all about him, the details, in the car? Returning with the bag? The scenes where he explained about the father, the evidence of the photo? The flashbacks to the incident with the car in 1970, the passing of information? His being a guardian angel to Gianni, especially with the accident, the hospital? The farewell, his sailing away, his reflections on the importance of telling the truth?
5. The portrait of Anna, her support of her husband, driving him to the country, with their son, her lie, the confession, the reconciliation? The young boy and his vitality, relationship with his father?

6. His mother, her knowing about her husband or not, the sequence in the hospital? Keeping the secrets?

7. The incidental characters giving atmosphere, the young girl making the appeal at the door and then the outburst against Gianni? The concierge? The people at the hotel?

8. An Italian exploration of mid-life crisis, the absence of a loving father, the desperation to reconcile with a father who was dead? The shock of the hidden truth?

POWER OF THE PAST, THE / LA FORZA DEL PASSATO

Italy, 2002, 93 minutes, Colour.
Sergio Rubini, Bruno Ganz, Sandra Ceccarelli.
Directed by Pier Giorgio Gay

The Power of the Past is an intriguing Italian drama. Set in north-eastern Italy, it focuses on an author in midlife crisis. He encounters a strange characters who transforms him.

The author is played by Sergio Rubini, prominent director and actor, and Bruno Gantz, the German actor (remembered especially for Wim Wenders’ Wings of Desire, as well as portraying Hitler in Downfall).

1. The meaning of the title? Its relationship to Gianni? The relationship to his father? The truth and the lies?
2. The Trieste settings, the city, the port? The beaches? Authentic atmosphere? The musical score, the songs, the rock 'n roll, The Doors?

3. The focus on Gianni: as a 40-year-old, his life in crisis? His skill as a children's writer, the visualising of his fantasies, himself as the child in the stories? His winning the award, the woman asking for his help, his giving her the cheque? The encounter with his wife, his fear that she was having an affair? Love for his son? The encounter with Bogliasco, his knowing so much about him, wanting the autograph? Forcing him into the car, Gianni's nervousness, running away? His anxiety with his wife, urging them to leave the city? The holiday house, his decision to return? His inquiries about Bogliasco? Meeting him again, bringing back the case? The beginnings of the discussion? The revelation about his father, his unwillingness to believe? Bogliasco and the detail? Bogliasco looking after him, his encounter with the woman with the ill son, the coffee together, her gratitude, his attraction to her? Finding the note from his wife with the truth of the affair? His riding the motorbike, the accident, Bogliasco and his looking after him, to hospital? His mother visiting him in hospital, his trying to get at the truth about his father, his mother keeping secrets? His wife and the reconciliation, a lapse of memory? The focus on Gianni as a person, as a writer, his nervousness, the scenes with his son, with his wife? Alone with his music, the rock 'n roll?

4. Bogliasco, his mysterious presence, interest in Gianni, knowing all about him, the details, in the car? Returning with the bag? The scenes where he explained about the father, the evidence of the photo? The flashbacks to the incident with the car in 1970, the passing of information? His being a guardian angel to Gianni, especially with the accident, the hospital? The farewell, his sailing away, his reflections on the importance of telling the truth?
5. The portrait of Anna, her support of her husband, driving him to the country, with their son, her lie, the confession, the reconciliation? The young boy and his vitality, relationship with his father?

6. His mother, her knowing about her husband or not, the sequence in the hospital? Keeping the secrets?

7. The incidental characters giving atmosphere, the young girl making the appeal at the door and then the outburst against Gianni? The concierge? The people at the hotel?

8. An Italian exploration of mid-life crisis, the absence of a loving father, the desperation to reconcile with a father who was dead? The shock of the hidden truth?

PONIENTE

Spain, 2002, 96 minutes, Colour.
Cuca Escribano, Jose Coronado.
Directed by Chuz Gutierrez.

The reason for seeing Poniente is its portrait of Spain at the beginning of the 21st century. There are various issues of social life, government, the economy, both industry and agriculture. There are also racial issues – especially for the migrants, illegal and legal, coming across from northern Africa. It is a film about the European Union coping with development as well as with migrants. The film also tells a story – about a teacher at a school, the children, her aunt and family life as well as legal struggles, family conflicts.

While mainly for a Spanish audience, it is an interesting glimpse of life in Europe, especially southern Europe and the Mediterranean.

1. Spain in the 21st century, social life, the economy, government, industry, agriculture? The agricultural methods, business, strikes? Race, society and violence?

2. The Madrid settings, the school, the contrast with the southern coast, the beaches, the winds and water, the earth and the elemental atmosphere? The irony of the valleys covered with plastic?

3. Spanish traditions in this part of southern Spain, the Berbers and the common roots with the Spaniards, the Moroccan migrants, the European Union? Illegal entrants, the Spaniard using them for labour, exploiting them? Racial prejudice and harsh treatment? Ultimate violence and destruction?

4. Lucia and her work at school, the children, embracing each other, playing? Her daughter? The news of her grandfather's death, the bus ride, her aunt meeting her, the funeral and her fainting, the revelation of her daughter being drowned at this beach?

5. The aunt and her care for Lucia and her daughter, her advice about the property, the will, Miguel and his legal struggles for his property, Lucia and her decision to work the agricultural business with the tomatoes?

6. The character of Curro, his having migrated to Switzerland with his family, the years in Switzerland, not feeling at home there, not feeling at home in Spain? His diligent doing of the accounts, his advice to Lucia's father, his advice to Lucia, bringing the documents? His dream of opening the bar? His friendship with Admembi and their collaboration, their discussions about their roots? Lucia's breakdown, his helping, the attraction, the kiss, the beginning of a relationship? External tensions? The bar and his wanting to put down the money, the owner potentially selling it to the Germans, his asking Miguel for a loan?

7. Lucia, her relationship with her father, his not having spoken to her, finding the drawer with all her letters unopened? Her going to work, the information about the plastic, about the crops? Her reliance on Paquito as manager, with the workers, the methods? Her meeting of Chad, friendliness, his speaking up on behalf of the workers and lunch breaks etc? Her encountering Paquito's prejudice against her, against her methods, holding onto her father's methods, Lucia learning?

8. Miguel and his relationship to Lucia, his relationship to his son, his son wanting to leave school and work, the irony of Lucia giving him work, her consultation with Miguel? The dispute about the land, going to the courts? Curro and his advice, lending Curro the money? The court decision against Miguel? His angers? His relationship with his mother, her advice? The build-up to the race hatred, hatred of Lucia? His speaking up at the landowners' meetings? The threat of the strike, the loss of his money, his setting the fire, the phone call and his discovering that his son was dead? His grief at killing his son?

9. Paquito as manager, loyal to the previous owner, his being bombastic in manner, telling Lucia what she should do, his prejudice against Chad and dismissing him? The overtime issues, his own payments? The racism, talk in the bar? His being fired and his resentment? His speaking up at the meetings?

10. Perla and her daughter, the friendship of the two little girls, their doing things together, school? Perla babysitting? Her aunt warning Lucia against it? The discussions, their hopes, being trapped in the town? Perla not at home, discovering the strip club, the clients, Lucia's reaction, Perla's explanations, Lucia not being judgmental? The friendship scenes between the two women? Lucia suggesting Perla for a job at Curro's bar?

11. Admembi and the other Berbers, the Moroccans, their skill at work, their desperation to be hired, in the fields, with the tomatoes? Curro and his working with them, friendship with Admembi, their discussions, their roots? The plans for the bar? The Moroccan men, the unionising, their being excluded from the bars?

12. Said and his young friends, arrogant, getting the money from Curro for their apartment, being ousted, at work, their continued anger?

13. The landowners, the issue of wages, justice, the economy, business? Their meetings?

14. The workers, the poor conditions, the sequence of celebrating together and Lucia and Curro sharing this? The plans, the homes, their bad treatment and being ousted? The build-up to the strike?

15. The setting of the fire, the devastation, the young man being dead, Curro and his being hurt, Lucia finding him and reviving him?

16. The film as a portrait of Spain at the beginning of the 21st century, its situations, the fire seen as a symbol of destruction of the past, a purging - and the possibilities of a new beginning?

CLOSET, THE / LE PLACARD

France, 2002, 95 minutes, Colour.
Daniel Auteuil, Gerard Depardieu, Jean Rochefort, Thierry Lhermitte.
Directed by Francis Veber.

The Closet is yet another very funny film by writer-director Francis Veber. In the 80s he made a number of entertaining films (often remade in the United States) including La Cage Aux Folles (The Birdcage), Buddy Buddy, Partners, The Toy, The Man With One Red Shoe, Three Fugitives, My Father the Hero. Some of his entertaining French films include Le Diner de Cons, Tais-Toi and La Doublure.

Many of his characters in his films are called Francois Pignon. This time it is Daniel Auteuil who plays Pignon as a small man, working as an accountant in a rubber factory, who is about to be fired. He receives advice that he cannot be discriminated against or fired if he is homosexual. Reluctantly, his sets himself up as homosexual – with all kinds of reaction from management, including Gerard Depardieu who in a very comic role becomes infatuated with him.

Francis Veber relies on oddball characters, farcical communication, farcical situations – which, below the surface, say a great deal about human nature.

1. An entertaining and gentle comedy? Personalities, interactions? Plots and confidence tricks? The importance of perceptions of people, false judgments, consequent actions? The humorous side? The sad side?

2. The title, the reference to homosexuality? The neighbour and his homosexual background, having been sacked from his job, times changing? His devising the plan for Pignon to save his job? The homosexual background, the photos? Their being sent to the personnel at work? The reaction, people believing the truth of the photos? Only the secretary realising that they were doctored? The attitude of the film towards homosexuals, tolerance and understanding, perceiving them as victimised? The gay bashing in taunts, in physical violence? The film making a plea for understanding people and offering tolerance and friendship?

3. The focus on Pignon, his seeing himself as a dull man, his wife walking out on him because he was dull, his son refusing to associate with him because he was dull? Santini wanting to fire him because he was dull? The photo, his not fitting in, standing aside? In the toilet and hearing that he was to be sacked? His desperation, loneliness, wanting to throw himself off the balcony, his being stopped by his neighbour?

4. His going along with the plan about the photo, his going to work, noticing people's reactions? His playing along by not doing anything and just being himself? Letting others do the perceiving? The attentions of Santini, at the meal and the discussion about his salad? His birthday and the buying of the pink pullover? The dinner and the discussion about football locker rooms and showers? His being bewildered? His complaint of sexual harassment by the secretary? The secretary's turning against him? His becoming exasperated? Holding on to his job, upset when the secretary was fired and going to plead her cause? Winning them round? The secretary's attempts to get his shirt off to see the tattoo, the spilling of the coffee, the secretary getting him to work back, the drinking wine, fiddling with his shirt? His reaction? His being persuaded by the publicity agent to go on the gay pride parade, the condom factory, wearing a condom? His son seeing him on television and thinking his father was not dull? His ex-wife looking at the video, ringing him, wanting an explanation? His being bashed and the sympathy of the neighbour? The sympathy of the boss? His worry about Santini and his breakdown? Going to see him in hospital, wearing the pink pullover, Santini suggesting he change it? The encounter with the secretary and the Japanese visitors watching (and wanting to come back to the factory)? The president and his confusion? The decision to keep him on? His strength in himself, with Santini and the welcoming party and his organising? His dinner with his wife, her taunting him, telling her the truth and telling her she was an unpleasant and ungenerous woman? A year later, his relationship with the secretary? The photo and his pushing the others in the front row out of the frame? The transition to a man more alive through misperceptions?

5. Santini and Gerard Depardieu's presence, his talking about sacking Pignon, his gay bashing and offensive language, racist overtones? His not realising it, being apologetic? The other executives and their plot to trick Santini? Urging him on to be kind to Pignon, telling him that it would save his career? Santini and his awkwardness on the football field and his shouting, advice about talking about showers? Going to talk to Pignon in the cafeteria and his awkwardness, the meal together and talking about the showers, going home to his wife and her exasperation, the suggestion about Pignon's birthday, buying the pullover, his wife seeing the receipt, buying the chocolates and her attacking him, moving out? Santini and his attachment to Pignon, the breakdown? In the institution, Pignon's visit, his coming to life again, the return? The friendship with Pignon?

6. The executives, their being in the football team, their not wanting prejudice - but taking their joke too far? Their telling the truth and its effect on Santini?

7. The boss, the sacking, the photos, the board meeting, his own prejudices, political correctness in keeping Pignon at work, taking the Japanese tourists, the interview with Pignon, keeping him on?

8. The two secretaries, the girl who perceived that Pignon was homosexual and interpreted his look, walk, the stories about him? The other secretary and her kindness, wanting to see the tattoo, working back, the sexual harassment charge, her anger, his saving her job, the sexual encounter? The only one to support him? The happy ever after for her?

9. The wife, walking out, harsh, urging her son to see his father but not responding? Pignon's telling her off in the restaurant? His son, ignoring him, Pignon going to the school (and the gay bashers thinking he was a paedophile and waiting for him in the garage)? His son not wanting to visit, the pasta dinner, giving it to the neighbour? His son seeing him on television, the change of attitude, getting his son back?

10. The neighbour, his sad story, stopping Pignon jumping, the cat and the episode of losing and finding the cat? Pignon buying another cat? His own story, helping Pignon with the photo, encouraging him, eating the pasta?

11. A look at contemporary France, the comic side of industry, working relationships? Promotions and ambitions? The issue of homosexuality and political correctness, gay bashers, people wanting tolerant attitudes, differing perceptions even when the individual concerned does nothing? A satisfying comedy with serious intent?

PLACARD, THE / THE CLOSET

France, 2002, 95 minutes, Colour.
Daniel Auteuil, Gerard Depardieu, Jean Rochefort, Thierry Lhermitte.
Directed by Francis Veber.

The Closet is yet another very funny film by writer-director Francis Veber. In the 80s he made a number of entertaining films (often remade in the United States) including La Cage Aux Folles (The Birdcage), Buddy Buddy, Partners, The Toy, The Man With One Red Shoe, Three Fugitives, My Father the Hero. Some of his entertaining French films include Le Diner de Cons, Tais-Toi and La Doublure.

Many of his characters in his films are called Francois Pignon. This time it is Daniel Auteuil who plays Pignon as a small man, working as an accountant in a rubber factory, who is about to be fired. He receives advice that he cannot be discriminated against or fired if he is homosexual. Reluctantly, his sets himself up as homosexual – with all kinds of reaction from management, including Gerard Depardieu who in a very comic role becomes infatuated with him.

Francis Veber relies on oddball characters, farcical communication, farcical situations – which, below the surface, say a great deal about human nature.

1. An entertaining and gentle comedy? Personalities, interactions? Plots and confidence tricks? The importance of perceptions of people, false judgments, consequent actions? The humorous side? The sad side?

2. The title, the reference to homosexuality? The neighbour and his homosexual background, having been sacked from his job, times changing? His devising the plan for Pignon to save his job? The homosexual background, the photos? Their being sent to the personnel at work? The reaction, people believing the truth of the photos? Only the secretary realising that they were doctored? The attitude of the film towards homosexuals, tolerance and understanding, perceiving them as victimised? The gay bashing in taunts, in physical violence? The film making a plea for understanding people and offering tolerance and friendship?

3. The focus on Pignon, his seeing himself as a dull man, his wife walking out on him because he was dull, his son refusing to associate with him because he was dull? Santini wanting to fire him because he was dull? The photo, his not fitting in, standing aside? In the toilet and hearing that he was to be sacked? His desperation, loneliness, wanting to throw himself off the balcony, his being stopped by his neighbour?

4. His going along with the plan about the photo, his going to work, noticing people's reactions? His playing along by not doing anything and just being himself? Letting others do the perceiving? The attentions of Santini, at the meal and the discussion about his salad? His birthday and the buying of the pink pullover? The dinner and the discussion about football locker rooms and showers? His being bewildered? His complaint of sexual harassment by the secretary? The secretary's turning against him? His becoming exasperated? Holding on to his job, upset when the secretary was fired and going to plead her cause? Winning them round? The secretary's attempts to get his shirt off to see the tattoo, the spilling of the coffee, the secretary getting him to work back, the drinking wine, fiddling with his shirt? His reaction? His being persuaded by the publicity agent to go on the gay pride parade, the condom factory, wearing a condom? His son seeing him on television and thinking his father was not dull? His ex-wife looking at the video, ringing him, wanting an explanation? His being bashed and the sympathy of the neighbour? The sympathy of the boss? His worry about Santini and his breakdown? Going to see him in hospital, wearing the pink pullover, Santini suggesting he change it? The encounter with the secretary and the Japanese visitors watching (and wanting to come back to the factory)? The president and his confusion? The decision to keep him on? His strength in himself, with Santini and the welcoming party and his organising? His dinner with his wife, her taunting him, telling her the truth and telling her she was an unpleasant and ungenerous woman? A year later, his relationship with the secretary? The photo and his pushing the others in the front row out of the frame? The transition to a man more alive through misperceptions?

5. Santini and Gerard Depardieu's presence, his talking about sacking Pignon, his gay bashing and offensive language, racist overtones? His not realising it, being apologetic? The other executives and their plot to trick Santini? Urging him on to be kind to Pignon, telling him that it would save his career? Santini and his awkwardness on the football field and his shouting, advice about talking about showers? Going to talk to Pignon in the cafeteria and his awkwardness, the meal together and talking about the showers, going home to his wife and her exasperation, the suggestion about Pignon's birthday, buying the pullover, his wife seeing the receipt, buying the chocolates and her attacking him, moving out? Santini and his attachment to Pignon, the breakdown? In the institution, Pignon's visit, his coming to life again, the return? The friendship with Pignon?

6. The executives, their being in the football team, their not wanting prejudice - but taking their joke too far? Their telling the truth and its effect on Santini?

7. The boss, the sacking, the photos, the board meeting, his own prejudices, political correctness in keeping Pignon at work, taking the Japanese tourists, the interview with Pignon, keeping him on?

8. The two secretaries, the girl who perceived that Pignon was homosexual and interpreted his look, walk, the stories about him? The other secretary and her kindness, wanting to see the tattoo, working back, the sexual harassment charge, her anger, his saving her job, the sexual encounter? The only one to support him? The happy ever after for her?

9. The wife, walking out, harsh, urging her son to see his father but not responding? Pignon's telling her off in the restaurant? His son, ignoring him, Pignon going to the school (and the gay bashers thinking he was a paedophile and waiting for him in the garage)? His son not wanting to visit, the pasta dinner, giving it to the neighbour? His son seeing him on television, the change of attitude, getting his son back?

10. The neighbour, his sad story, stopping Pignon jumping, the cat and the episode of losing and finding the cat? Pignon buying another cat? His own story, helping Pignon with the photo, encouraging him, eating the pasta?

11. A look at contemporary France, the comic side of industry, working relationships? Promotions and ambitions? The issue of homosexuality and political correctness, gay bashers, people wanting tolerant attitudes, differing perceptions even when the individual concerned does nothing? A satisfying comedy with serious intent?

PLAYING BY HEART

US, 1998, 122 minutes, Colour.
Gillian Anderson, Ellen Burstyn, Sean Connery, Anthony Edwards, Angelina Jolie, Jay Mohr, Ryan Felipe, Dennis Quaid, Gena Rowlands, John Stewart, Madeleine Stowe, Patricia Clarkson, Nastassja Kinski.
Directed by Willard Carroll.

Playing By Heart is an entertaining pun title for a film about relationships, matters of the heart.

The film was little seen on its release despite an extraordinary cast. The film has eleven characters who are explored in their interrelationships – and, finally, the much closer relationships of each of the characters is revealed, to some surprise.

The film relies on Sean Connery and Gena Rowlands playing an older couple, married for forty years, reflecting on fidelity and infidelity and temptation in their marriage. The youngest couple are played by Ryan Philippe (with blue hair) and Angelina Jolie, the year that she won an Oscar for Girl, Interrupted. John Stuart and Gillian Anderson play two lonely people, she a theatre director, he an architect. Their tentative relationship builds up. Madeleine Stowe and Anthony Edwards are a couple cheating on their spouses. There is also a mother with a son dying of HIV AIDS, Ellen Burstyn and Jay Mohr as the son. Dennis Quaid is a man who spends his time in bars, telling stories. Eventually all this material comes together.

The film was directed by writer Willard Carroll who has made only five films, this being his second.

1.A human and humane entertainment? Geared for emotional response? The appeal to middle aged and older adults?

2.The title and its tone, the emphasis on playing, work and acting? The emphasis on the heart?

3.The photography of Los Angeles, the various worlds of the city, the affluent homes, apartments, the theatre, bars, hotels, hospitals? The stop-motion photography to indicate the passing of time? The world of affluent Los Angeles citizens?

4.The screenplay and its jigsaw style, the daisy chain of events and characters, the verbal clues, everything coming together at the end? A satisfying ending and understanding the implications of character, plot?

5.The introduction with Joan about the music, dancing to architecture, speaking about love?

6.The devices for introducing each character: the audience responding to them personally, the initial reaction, later changes of perception?

7.Hugh and his powerful stories in the bars, the crash and the death of his family, his work at the television studio and programming and being sacked, his story about being gay and his relationship? The role of the supervisor and the later explanation of his course? His effect on the listeners - the compassionate woman listening about his dead family, Nastassja Kinski as the young woman in the bar - and wanting to pay for his trip home because he was drunk, the drag queen listening fascinated but not believing a word?

8.This introduction with Hugh and the theme of truth and lies, surfaces and depths, revelation and relationships?

9.The subplot of Martha and her son, the AIDS situation and films about AIDS? Her finding her son in hospital in Chicago, discussions about his partner and her learning about her son's relationships? The mother knowing and not knowing about her son? The truth game and her being unwilling, her explanation that she did not love her son's father, the explanation of her marriage, security and staying married? The young man learning to die, the mother learning to face it? The background of his marriage and the marriage break-up? The funeral - and Meredith receiving the phone call, going to the funeral, being his wife?

10.Meredith and her work in the theatre, her relationships and tensions, her wariness of commitment? The accident with the magazines, meeting Trent, the date, awkwardness and tension, his saying she was charming? At home, the dog, the dinner - and the tension and her breaking the date? Reacting badly? Meeting again, the play as a success? The second dinner, the sexual relationship, her letting go, her going to the funeral? (And her moving the car for Joan and Keenan?)

11.Hugh and Gracie, the tensions of their marriage, the many years, the lack of intimacy, no children? Hugh at home and the routines, the garbage? The contrast with his course and the review with the supervisor? Gracie and her affair, the hotel and the room, the psychological discussions and counselling, the talk and the intimacy, no future in the relationship, Roger and his family? The irony that Roger was the celebrant at the anniversary?

12.Joan and her borrowing quarters, Harry and the break-up, the cat? Drinking, talking incessantly? Borrowing from Keenan, having a drink with him, his silences? Tension? His comments about intimacy and talking? The agreement to go to the movie? Keenan at home, his father? The discussion, the absent car? The drinks, the truth about the girlfriend and her drugs, HIV infection? Joan giving up drink? The possibilities of love without sexual intimacy? A future together?

13.Paul and Hannah, his illness, their talking, the 40 years of marriage? Hannah and her TV cooking career, the accident? The easy relationship between the two - and Paul woofing like a dog? The family, discussions about the past, the children, memories? Hannah finding the photo of Wendy? Her refusing to speak, anger, Paul and his explanation of the relationship with Wendy, the love, the possibility of leaving Hannah, his not doing this and making choices? The build-up to the celebration and their meeting their children?

14.The celebration, the arrival of everyone, including Martha? Talk, friendships, reuniting love, the ceremony and the renewal of vows? The possibilities and the final circle of the dance?

PHOTOGRAPHING FAIRIES

UK, 1997, 101 minutes, Colour.
Toby Stephens, Emily Woof, Ben Kingsley, Frances Barber, Edward Hardwicke, Phil Davis.
Directed by Nick Willing.

Photographing Fairies is an intriguing film set at the beginning of the 20th century, World War One, a period of belief and non-belief.

The film focuses on Toby Stevens as a war photographer who has grieved the death of his wife after one day of marriage. He goes through the war, returns to practice, avoiding weddings, goes to a theosophical society meeting and a discussion about photography – and his specialisation in trick photography. A woman comes claiming that her children have seen fairies in the garden, photographing them.

The film explores the response of the photographer, issues of belief and non-belief, of fraud and integrity. He encounters a minister, also grieving, the father of the girls. He is played by Ben Kingsley. In the background is Sir Arthur Conan Doyle who believed in such phenomena. He is played by Edward Hardwicke.

The film is small in scope, directed by British director Nick Willing (who won a number of awards for his 2003 film Doctor Sleep).

At the same time, a bigger-budget film was made: Fairies: A True Story, directed by Charles Sturridge (Brideshead Revisited, A Handful of Dust). It had the added benefit of Harvey Keitel appearing as Harry Houdini and Peter O’Toole? as Sir Arthur Conan Doyle.

This film also focuses on the children, their seeing of the fairies, the photos, the issues of reality and unreality.

1.The factual basis of the film? A fictional interpretation of the events? The focus on characters, situations, the period - and the parallels with '80s and '90s New Age beliefs?

2.The British production: style and manner, budget? Cast? The Swiss mountain settings? England, London and the countryside pre and post-war? The evocation of World War I? Post-war England? The musical score? (The waltz, the background to Charles' execution?)

3.Special effects, the editing, the dreams, the effects for the fairies, the photos, the fairies and the visions?

4.The credibility of the events? The Theosophical Society in the early 20th century? Mediums, seances? Belief in fairies, transcending all religions, theories of lost angels, intermediaries with human beings, messages? Children's response to fairies and delight? Adults and the fairies as leading to death? The visualising of the fairies - late 19th century, early 20th century art? Female and male? Their appearances, the dancing, the flying, burning and destruction?

5.The screenplay's theory about the appearance of the fairies? The Theosophical Society and its speeches and debates? The drug effects of the special flowers? Hallucinations?

6.The title, the original photo of the marriage ceremony? Charles as photographer? The possibilities of capturing reality realistically and stylistically in photos? (In film?) The types of camera, quality of plates, development? Capturing what the eye cannot see?

7.The opening: Switzerland, 1912? The wedding group - and Charles missing, coming from behind the camera? Kissing his wife, the blur in the photograph? Its being on his wall - and Mrs Templeton's comment about weddings? Charles' love for his wife, the waltz, the love? On the mountains, the weather, the crevasse opening, his inability to hold his wife? Her loss and his grief? The reprisal of these in his dreams and memories: the dance floor, the locked doors, the empty room, the erotic aspects of his dreams and memories? The end and his being able to save his wife as he died? Images of Heaven - a heavenly state in which everything was complete?

8.Charles and his character, photographer, talented? The effect of his wife's death? The wall, helped by Roy, photographing the corpses, the dangers, the unexploded bomb, his recklessness towards his own life? His death wish? Surviving?

9.His work after the war: the sequence with the grieving parents, the pose, Roy taking the place of the son, his manufacturing the photo? Indication that photos can be manufactured? His visit to the Theosophical Society and his denunciation of the photos with the fairies? His speech, giving out his cards? The speaker and the introduction to the photos and invitation to audience belief? Conan Doyle's response? Seeing Charles as a seeker for the truth? Beatrice Templeton and her presence, her visit to Charles, the explanation of the photographs? Her enigmatic responses? Roy and the exasperation about the interruptions to the work, the enlargements and the range of photos, his discovery of the reflection of the fairies in the eye of the child? His abrupt treatment of the councillors and their photo?

10.His having a cause, travelling to the countryside, asking Roy to bring the gear, Roy's exasperation? The visualising of country life? Seeing the girls coming out of school, following them, bursting into the reception, being offered the cakes, the initial encounter with Nicholas Templeton? Mrs Templeton and her enigmatic reaction, making the appointment?

11.Mrs Templeton, presence at the society talk, bringing the photos? Her visit to Charles and the discussion about the photos, her wanting reassurance? Her anxiety, eating the flower, the hallucinations, climbing the tree, seeking the fairies, her death? Nicholas ambling through the woods for the appointment, finding her body? Going to the police, the presence of the children and Nicholas? His attending her funeral and listening to the oration and prayer?

12.His growing obsession? The enlarged photos, his continued study of them, the plausibility of speed and motion and the photographing of fairies? His theories? Watching the children, seeing the flowers and their eating them, the hallucinations? Putting the mementoes of their mother into the tree? His taking the flower, his own hallucination in the pub, seeing the fairies? At the tree, his continued hallucinations, his climbing the tree, his fall and his being injured? The blood, his going to the funeral? The encounter with Linda and her helping him?

13.Linda and her care for the children, helping Charles, stitching his forehead? The attraction? The discussions? The village celebration, the dance (and Charles' hypnotic presence, remembering his wife)? On the roof looking at the town? Linda and her meeting with Roy, working with him for the taking of the series of photographs? Her fidelity to Charles' memory, bringing the children to London?

14.Roy, the war service, working with Charles, exasperation, the photo of the councillors, the partners and the decisions about the company, his money sunk into it? Watching Charles being taunted by Nicholas at the harvest, throwing the sacks of flour? Working with Linda at the tree?

15.The children, their age, background, seeing the fairies, making up the stories, their mothers' mementoes in the tree, the importance of the flowers? At their mother's funeral? The continued questions of Charles? Going back to the tree, the flower, the young girl's fall? Her father's interrogation - after his finding the mementoes and reading the notebook? The children at the end - inheriting their parents' money, going to London with Linda?

16.Nicholas Templeton, his jovial manner, his war service background, love for his wife? The grief at her death, at the police station? The celebration of the funeral, his words and the hymn? The people sharing the grief? The invitation to Charles to stay for the meal, giving him more food? The tricks of the mind as he expected Beatrice to arrive? Charles joining him for the run, on the log above the waterfall, letting Charles fall, holding on to him, demanding a confession? The injury of his child, cross-examining her, finding the notebook and reading about the flowers? His destruction of the tree, destruction of the cameras? At the harvest and his taunting of Charles with the weight of the sack? Their fight, his impalement, his strength - his dying (and the fairy breath seeming to come out of him)?

17.Charles and his dismay, the destruction of the tree, asking the children where the flowers came from, going under the tree, the small remnant? The photos and the series, his belief in them, his explanations to Roy and Linda that the fairies had been photographed even though they had not seen them? The hallucination at the tree - the fire and the fairies being burnt in the fire? The fight with Nicholas and his death? Going to the police station, confessing, not wanting to mount any defence, pleading guilty? In jail, the visits, Linda's presence? The final meal and his being calm and content? The walk to the gallows in the snow, the chaplain and the words of the Resurrection and the Life? His willingness to die? The death experience, the tunnel, the light? Being reunited with his wife, being able to save her from the crevasse, Heaven as the completion of all things?

18.Themes of faith and superstition? `New Age' theories of angels and intermediaries? The role of the church? Angels? The afterlife? Descriptions of Heaven - as a state in which all things were complete (and the discussion with Sherlock Holmes)? The relevance of this kind of story for the late 20th century?