THE PEDESTRIAN

Switzerland, 1973, 98 minutes, Colour.
Peggy Ashcroft, Elisabeth Bergner, Lil Dagover, Francoise Rosay, Maximilian Schell.
Directed by Maximilian Schell.

The Pedestrian was nominated for Oscar for best foreign language film – and won this award in the Golden Globes.

The film focuses on a war criminal, old, regretting what he had done, facing up to the realities. The film traces his moral dilemma as well as looking back over the war experience. The film was directed by Maximilian Schell who had won an Oscar for his performance in Judgment at Nuremberg. He had directed a number of other films including First Love and The Castle, a version of Kafka’s novel. It is interesting to note that at this period Maximilian Schell also appeared in The Man in the Glass Booth as Adolf Eichmann on trial for his war crimes.

1. The meaning of the title, reference to Glese? The title as explained in the film? The symbolic value and indication of themes?

2. The impact and meaning of the dream, relationship to death, to Glese's story?

3. The impact of the museum openings the bones, the past? The humanity and inhumanity? Modern science and progress? The human conflicts behind this? Its relationship to the ending?

4. What was the point of making this film, to stir German memories, to criticise the stirring of German memories? The blending of both these aspects? Which predominated in the impact of the film?

5. The importance of German guilt as a theme of the film? The points made during the panel discussion, the encounter of the varying generations in modern Germany, memories of past guilt and the necessity of forgiveness, reparation, purging? Some people thinking the Germans should retain their guilt memories? What was the nature of the guilt, the responsibility?

6. The focus on the incident in Greece? As visually presented, the meaning of the incident in itself, the impact on the Germans, the spur of the moment, the need for decisions? The possibility of mistakes and injustice? (The parallel with the Vietnam decisions and brutality and massacres?)

7. The focus of the film on Glese, what kind of man was he, his strengths, his place in his family, his capacities for work, his role in the modern German economy? How well was this communicated? His relationship with the girl? An average man? The effect of war on him personally, the effect of war on him financially? What was he to do in the dilemma? Mistakes as irrevocable? Even with forgiveness? How well was the audience involved with Glese and his predicament?

8. How well developed was the character of Hartman? As a journalist, the younger generation? What right did he have to probe Glese? How callous was he? His official responsibility, his personal animus? Libel, cavalier? What might he have done in a similar situation?

9. How did the film focus on Andreas? Glese's memory of him? The contrast of his son? His wife, Andreas' wife, the girl? Andreas in himself and his relationship to his father? The significance of his death and its meaning? The next generation rebelling against those in the war?

10. What was the significance of the actor? His memories of the past, relationship to Glese, Glese's treatment of him?

ll. The significance of the elderly ladies and their discussion? The personalities of each, what they represented, the nature of their discussion in the seventies, their memories of the past? This device as a chorus for the themes of the film?

12. The boy as a focus for the film? In himself, his heritage of the two previous generations, his future?

13. The significance of the lawyer and his points of view? Relationship with Glese? The ambiguity of the ending? The move from realism to fantasy? The options given to Glese? The suicide option? The debate and remaining alive? How well presented was the debate? Were all sides adequately presented? The value of the solution? What was the audience left with?

14. How well explored were the themes of justice, rights, mistakes, law, suffering, reparation, war, truth? What particular points of view emerged from these explorations?

PEAU D'ANE

France, 1970, 100 minutes, Colour.
Catherine Deneuve, Jean Marais, Jacques Perrin, Micheline Presle, Delphine Seyrig, Jean Servais.
Directed by Jacques Demy.

Peau D'Ane marks Jacques Demy's return to France after his American visit to make Model Shop, his sequel to Lola of 1960. Previously he had made the lightly confected musicals The Umbrellas ok Cherbourg and The Young Girls of Rochefort. Catherine Deneuve had featured in both these musicals. The music was by Michel Legrand. Catherine Deneuve is now the heroine of his fairy tale taken from the works of Charles Perrault, the author also of Beauty and the Beast. Michel Legrand also contributes a very Gallic score and range of recitative songs.

Demy's fairy tale is beautiful to look at, the emphasis is on stylised beauty in dress and decor. The film captures the atmosphere of the fairy story but presents it more for adults than for children. He also has a tongue-in-cheek reference to modern situations and brings in humorously a helicopter at the end. Nevertheless the film captures Perrault's fairy tale. Catherine Deneuve is beautiful as a fairy princess and Jacques Perrin is the prince. Delphine Seyrig is delightfully eccentric as the fairy godmother. Demy was then to go on to make his version of The Pied Piper - a fairy story with the same kind of treatment except that it veered towards the ugly and the pessimistic as well as a critique of life in the Middle Ages, akin to Bergman's mediaeval parables.

1. The value of filming a fairy tale? For what audience? Children, adults, the French, universal audience?

2. The fairy stories of Perrault, his French style, French background from postmediaeval period? Their appeal, allegory value, fairy story ingredients? How particularly French?

3. The fairy story - as attractive, appealing? A fairytale treatment? The appeal of the basic ingredients of the fairy story with kingdoms, kings and queens, jewels and wealth, sadness, near tragedy, happy endings? The characters, situations and crises? The reward? The background of a magic atmosphere and magic assistance of the characters? The transformation of the real? Magic and wish-fulfilment? How well were these used in the film?

4. The director's irony? The modern touches and the modern references, especially with the helicopter at the end? The use of Cocteau and his poems? The laughter, the ironic perspective, fairy tale and yet highlighting the aspect of the fairy world? The references to magic, the assistance of the fairies? and their busyness at particular seasons?

5. The contribution of the colour, the sumptuous decor and costumes especially the princess's dresses? The Red kingdom, the Blue Kingdom? The atmosphere of pageantry especially at the various courts and at the end? Castles and their rooms, the ordinary village with the farm work and the dirt, the countryside? The constant reliance on colouration to convey atmosphere, meaning, symbolic tones of the colour?

6. The contribution of the score, the Michel Legrand music and recitative songs, their situation throughout the film, revelation of character, themes interaction?

7. Our introduction to the fairy story through the book and the ending with the commentary about the appeal of fairy stories and the closing of the book? In the meantime an entry into a fairytale world, the kingdoms, the worlds of kings and queens and councils, marriages and heirs? The importance of law, morality? The whole background of the question of incest and its prominence? The resolution of the problem by happy marriages?

8. The picture of the king and his happiness in his kingdom, the donkey and the providing of jewels and wealth? and the ironic way in which he provided them? The king and the queen and their happiness but her death? Her death scene and the injunction about his marrying someone more beautiful than she? The fairytale daughter with her beauty? The advice of the council for the remarriage, the comedy with the ugly princesses and their pictures? The irony of his daughter being the most beautiful and the king having banished her from his sight? His watching his daughter and her playing in the courtyard and her song? His courting of her and her fear? Their gradual falling in love? The stratagem of the dresses and their beauty, the humour of the group making them and presenting them? The final irony with the killing of the donkey and skinning him and the king's willingness to do this and yet he does lose his daughter?

9. The introduction of the godmother with her knowing and flibbertigibbet kinds of ways? her vanity, her dresses, her wand, her distracted way of speaking? her advice about the dresses and its not always working, about the donkey's skin? Her Indication of love for the king? Her references to modern situations? Her bringing in the helicopter at the end for a happy ending for all, including herself?

10. The significance of the donkey and his place of honour amongst the horses in the stables, the coins and the jewels? His being the victim of the king? The presentation of the skin to the princess? her hiding in it, the visual impact of Catherine Deneuve walking around with a donkey skin on her? The introduction of the Cinderella aspects of the fairy tale?

11. The princess at the village, the ugly woman with the toads coming from her mouth, the people mocking her, the songs of mockery? The princess and her hovel in the woods and yet the magic of bringing all her kingdom with her? Her enjoying her disguise and her flight from the kingdom?

12. The build-up to the visit of the prince, the Red Kingdom, the entertainment for him? His wandering and his talking with the rose? His discovering Donkey's Skin? His falling in love with her and his return? His languishing on his return, his contrived illness, the mission for the cake and his eating it and reviving, the discovery of the ring?

13. The portrait of his parents as King and Queen, their ruling of their kingdom, love for their son, the holding of the dance and the pageant of the dance of the cats and the birds? Their fuss and agreement for the trial for the ring?

14. The build-up to the test for the ring with the song and all the women trying to get their fingers ready, the quack and his potion, for the fingers? The build-up to the arrival of all the women, their being put in rank, the humour of the tests and the various types?

15. The happy ending, the revelation of Donkey's Skin as the princess? The transformation to the marriage ceremony? The helicopter arrival and the pageantry?

16. Fairytale themes of the wise ruling of kingdoms, the nature of true kings and queens, true love, true morality, the quest, a world of 'happy ever after' for the couple lived a hundred years.

PASSPORT TO PIMLICO

UK, 1949, 84 minutes, Black and white.
Stanley Holloway, Betty Warren, Barbara Murray, John Slater, Jane Hylton, Hermione Baddeley, Margaret Rutherford.
Directed by Henry Cornelius.

Passport to Pimlico was one of the earliest comedy successes of the Ealing Studios. With directors like Robert Hamer, Henry Cornelius, who made this film and Charles Crichton, under the presidency of Sir Michael Balcon, the studios made a series of comedies which are notable in the history of cinema. They made a great mark in the revival of the British film industry in the forties and fifties. Stars like Stanley Holloway, Margaret Rutherford and especially Alec Guinness worked to the fore in these films. They took local situations and crisp dialogue and humorous, even farcical, situations which appealed to British audiences but also were accessible to audiences all over the world. They seem somewhat dated now in their issues and in their background. However they still stand as gems of English comedy reflecting the genius of the English humour and reflecting the atmosphere of the time.

1. How successful a comedy was this? What is the purpose of comedy? laughter, insight via the foibles of human nature? If this is so, how successful a comedy was this? Why?

2. How satirical was this comedy? The satire on the English? The Londoners, the post-World War II situation, independence, authority? How effective was the satire? Was it too black or was it just right? How does it seem so much later?

3. Comment on the style of the film, the black and white photography, the location photography, the use of music, the humorous criteria, situations, humorous characters? Were the characters persons or caricatures? The presentation of small incidents, as giving insights into persons and situations? Small sequences of comedy?

4. What did the film have to say about England and the war? About Britain after the war? the impact of the war and post-war footing?

5. How well did the film show ordinary people in London? In their jobs and work, the city's meetings, the projects for parks, life in the various homes, the children playing in the ruins, the attitude of the parents about the bomb, the bomb going off, the finding of the money? Were these people presented sympathetically or not? Or something of both?

6. What did the film have to say about managing independence? The fact that the people of Pimlico so readily seceded from England? What did this say about English independence and attitudes? How humorously?

7. What did the film show of human greed, the finding of the treasure? various claims, the way that Pimlico became Burgundy? The greed in storing up things in Pimlico, plunderers trying to get into Pimlico? the fact that a war could come from this kind of greed even within London?

8. How satirical was the film on bureaucracy? The ineffectiveness of the British Government? Their devices for being at war? their attempts to trick them? contrast then between the Londoners being sympathetic - eg their throwing the food over the wire?

9. The humour of the professor and her claims about Burgundy? Margaret Rutherford's contribution to the film?

10. Comment on the clashes of personality in the film? More irony and humour? Yet their reality?

11. Which details of the film were most impressive? Which allegorisations were most telling?

12. Why could this film be considered a classic of English comedy. Why?

THE PASSAGE

UK, 1979, 99 minutes, Colour.
Anthony Quinn, James Mason, Malcolm Mc Dowell, Patricia Neal, Kay Lenz, Paul Clemens, Christopher Lee, Michael Lonsdale, Marcel Bozzuffi, Peter Arne.
Directed by J. Lee Thompson.

The Passage is a suspense film set in World War Two. It is set in the snow-clad Pyrenees.

Anthony Quinn portrays a Basque guide who is asked by the Underground to lead a professor and his family from France into Spain so that they can escape the Nazi occupation. The professor is played by James Mason with Patricia Neal as his wife and Kay Lenz and Paul Clemens as their children. However, they are pursued by a fanatic Nazi, Malcolm Mc Dowell at his most nasty and overblown. There is an interesting supporting cast including Christopher Lee and Michael Lonsdale.

The film emphasises the dangers, the action, the suspense of the pursuit – and some gory touches, especially with the Nazi and his capacity for torture.

The film was directed by J. Lee Thompson who had begun his career in the 1950s in the UK with such films as Tiger Bay. He moved to the United States after directing The Guns of Navarone. In his American career he directed many thrillers, especially with Charles Bronson.

1. An interesting and entertaining film? The popularity of World War II films, films about the Resistance? Nazis and Nazi tactics? Journeys?

2. The stars and their reputation, their contribution to the style of the film?

3. Colour photography, Panavision, French and Spanish locations, the Pyrenees? The Spanish framework and the mountains? The European atmosphere of World War II? The avalanche and its special effects? The dramatic score?

4. Audience attitudes towards World War II? Germany and the Nazis, the S.S. and their ruthlessness? The Underground and Resistance, dangers, torture, executions? The need for getting scientists out of Nazi countries? The enlisting of ordinary citizens and the dangers undergone? Heroism?

5. The film's focus on the Basque, Anthony Quinn and his presence and style, reputation for presenting various national characters? His character as a shepherd, tough Basque, alone in the mountains, his concern for his sheep, the impossibility of the task, the bargaining and the payment? The limit of three days to succeed? His knowledge of the Pyrenees and his guidance? A reflective character, a hero?

6. His journey to France, the train journey and passing through the officials, the meeting with the Resistance? The visit to the brothel and the discovery of the family, the raid and the forcing of the decision? The various escapes, the Basque's resourcefulness, his having to resort to violence? The amount of fighting and killing? His decisiveness during the journey, the rescue of the daughter, the encounter with the gypsies, the driving of the truck, the border decisions and fighting. the guidance over the mountains? Journey and adventure material? how well done?

7. The mountain sequences, his leadership, the difficulties with Mrs Bergsen and her age and health, the heroism of her death and the Basque allowing her to go, his causing of the avalanche? The final discussion about the issues of war and the right to kill?

8. Malcolm Mc Dowell’s interpretation of Von Barlow? The reputation of the S.S., his arrival, imposing his presence, his personality? His attitudes towards underlings? The interrogation of Renoudet, his cooking, the farcical aspects of his chopping the vegetables, sex and sadism? His cutting - and then the fingers? The arrest, vengeance on the gypsies and moving them down and burning their leader? The relentlessness of his pursuit, more than orders from Germany? His pursuing the group in the snow, commandeering the guide and then executing him? The avalanche and his suffering, his appearing at the end, the dilemma and his death? A character, caricature? A symbol of Nazi excesses? Ruthlessness and motivation, guilt?


9. The Bergson family? the professor and his quiet attitudes, his dilemmas about escape, his family? His support of his wife, the antagonism with his son and his son's change of heart? Mrs Bergson and her age, holding up the group, her decision to go out into the snow, the family's reaction? Leah and the arrest by Von BorkowYY, her attitudes. succumbing to him, the escape? Paul and his reaction to almost being killed, discovering that his father rescued him? The value of rescuing this family?

10. The picture of the Resistance, the personalities, the discussions with the Basque, the arrests, torture, the giving of information, death?

11. The guide and his neutrality, leading the Germans, the inevitability of his death?

12. The portrait of the gypsies, their help, their suffering and especially the death of the leader?

13. The adventure ingredients, audience response to these ingredients, especially tho dangers? Interest in ingenuity in escape, pursuit, for example, the border sequences?

14. The value of the amount of violence in the film? excessive and exploitive or part and parcel of this adventure?

THE PARTY

US, 1968, 99 minutes, Colour.
Peter Sellers, Marge Champion, Claudine Longet.
Directed by Blake Edwards.

The Party is a Peter Sellers comedy and focuses on him and his talents. It was written and directed by Blake Edwards who had made quite a variety of films but often specialised in comedy, especially the Pink Panther series also with Sellers. For the most part The Party is quite hilarious. Peter Sellers does his Indian impersonations starting with a parody of Gunga Din and for the most part shows the unwelcome guest making faux pas after faux pas at the party.

However, the film tends to go on and on and the extravagant ending is a bit too broad in its humour compared with the remainder of the film. But it is a very good example of Blake Edwards’s style of comedy and Peter Sellers’ talents.

1. The quality of the film as a comedy, for smiles, laughs?

2. The film's reliance on comic situations, dialogue, characters, satire, sight gags? Which sequences illustrate each of these traits best?

3. The film's reliance on the plausible aspects of human behaviour coupled with those implausible? The nature of its irony and satire? Was it successful?

4. The focus of the film on the party itself? Audience expectations of filmed parties, people's behaviour, the ordinary things that happen? The film's presentation of these in a satirical manner? The gradual growth of mishaps, the arrival of the elephant and the excesses? The party and people's behaviour as self-destructive?

5. How enjoyable was the character of Hrundi? Peter Sellers' skill with his Indian style and character? The kind of person that Hrundi was, kind and gentle yet prone to accidents? A credible hero?

6. The important comedy in his characters the blowing up of the set, his arrival at the party, loss of his shoe, his seating at dinner and the chicken, his wanting to go to the to the toilet, the elephant etc.? Were these comic incidents credible, funny?

7. The contribution of Michelle, her character, personality, liking Hrundi, the contribution of the song, the happy ending?

8. The characterization of the guests and their styles, the satire on wealth and society? The daughter and the hippies?

9. The importance of the comedy with the waiter? The timing, the balance to Peter Sellers' comedy?

10. What is the value of enjoying a comedy like this? Just the laughter, the appeal to human values? The sense of the ridiculous?

PARTNERS IN CRIME

US, 1973, 100 minutes, Colour.
Lee Grant, Robert Cummings, Richard Jaeckel, Harry Guardino, Charles Drake, Richard Anderson, Loraine Garry.
Directed by Jack Smight.

A slight telemovie which looks rather like a pilot for a television series. Ordinary kind of crime material, the film is distinguished by a central role being taken by Lee Grant, a very strong actress.

1. The entertainment value of this film? Its qualities as a telemovie in style and content?

2. The thriller conventions, criminal, dangers, murder mystery? As a pilot for a television series?

3. Colour photography, locations?

4. The basic credibility of the plot? The criminal and his plan for recovering the money, danger from rivals, solving the murder mystery? Appealing to the judge and her associate for help? The judge and her associate an credible characters?

5. The character of the judge in terms of administration of justice, helping criminals like Hatch, helping Jordan? Her involvement in the mystery? Dangers? Solving it, Hatch as a credible convict, helping the judge? Connors and his rivalry with Jordan? Jordan and his background, return from prison, searching out the money, deaths and danger? Mrs Jordan and the mystery? The irony of the characterization of the Lieutenant and his being the criminal?

6. The building up to a climax? The showdown at the airport? The use of the cards as symbols?

7. The value of this kind of entertainment - pastime, values, insight via crime thriller conventions?

PARTIZAN

US, 1974, 100 minutes, Colour.
Rod Taylor, Adam West, Peter Carsten.
Directed by Stole Jankovic.

Partisan is a conventional war drama featuring a heavy Rod Taylor. Set in Yugoslavia and made there, the film boasts attractive location photography. The plot itself is conventional war material focussing on the Resistance. A comparison could be made with Martin Ritt’s Five Branded Women.

1. The emphasis of the title and its illustration in the film? A war entertainment film, a morale-boosting film, as presented by Yugoslavia for Yugoslavia and the world? The memory of warfare, tribute and healing, National patriotism and heroism?

2. The quality of this film as a war film, as a war resistance film? Presentation of partisans conventionally, warfare and raids, the presentation of the Germans? Was this film better than average or average?

3. The Yugoslav location photography, the river and the terrain, the towns and the factories, the warfare? The patriotic groups? special effects for the warfare?

4. The fact that the film was based on true stories? The credibility of the plot, the American partisan and his leadership, the wandering Jews and the massacres, the Germans and their cruelty, the partisans and their work?

5. Comment on Marco as the hero of the film, his American background. his relationship with family and brother, his decision to fight, his motivation, the quality of his leadership, his relationship with the man in charge? His skill in war, his decisions for caution? His hostility towards
Anna, towards Kurt? His gradually loving Anna and allowing her to participate? The sequences of his heroics and the loyalty of the partisans towards him? Rod Taylor's suitability for the role?

6. The character of Anna as heroine, Jewish background, Austrian, relationship with Kurt at the beginning, throughout the film, devotion to Marco? A conventional heroine? Kurt as a conventional villain? On the ship, his hostility towards Anna, his participation in the massacres? His personal
vendetta and the death?

7. The presentation of the other characters, the leader of the partisans, Marco's brother, the German leader and his harsh vengeance, the German officials?

8. The initial impact of the siege of the boat and the rescue of the Jews? The presentation of the siege of the town and the German tanks foiling the ambush, the escape in the snow and the battles in the snow? The massacre of the hostages?

9. A satisfying exploration of war, resistance, harshness and cruelty, good and evil, heroism and survival in human nature?

PARIS HOLIDAY

US, 1958, 103 minutes, Colour.
Bob Hope, Fernandel, Anita Ekberg, Martha Hyer, Andre Morell.
Directed by Gerd Oswald.

Paris Holiday is a colourful Bob Hope vehicle. He is his usual self - an actor going to France for a script, full of wise-cracks, pseudo-heroism and cowardly remarks. It is the kind of film that Bob Hope fans enjoy. His is supported by French comedian Fernandel, a popular figure in French comedies and especially in the fifties' series of Don Camillo films. The team works well. Anita Ekberg lends her imposing presence as a spy villainess. There are attractive French locations and the whole film is a frothy Bob Hope comedy.

1. An entertaining Bob Hope comedy? His being teamed with Fernandel? The Paris backgrounds, comedy styles, espionage?

2. The particular style of Bob Hope's comedy - the wisecracks, the ambiguous situations, the jokes on the American hero? How well did they blend with Fernandel's music hall style, miming and imitations? The support of Anita Ekberg with her inflated style of sexuality? Martha Hyer as the straight heroine? A humorous blend?

3. The value of the colour photography, widescreen, atmosphere of Paris? The special effects especially the car chases, and the helicopter ride?

4. The plausibilities and implausibilities of the plot: the introduction of the four characters with their explanations of themselves, Bob Hunter's quest for the script, Ann Mc Call and her work at the embassy, Fernandel and his successful tour of America, Zara and her explanation of her role in espionage? The comic side, the film industry and theatre, the background of the group with the false money etc? The humour of the serious side of murders, madness?

5. Bob Hunter and the satire on the American film star, the American hero, coward as well an hero? Romance? The support of Fernandel? The character of Zara as the typical vamp spy, her searching of Bob's cabin, her coincidental presence, her threatening him and then change of heart? Ann Mc Call as the intrepid American heroine?

6. The supporting characters of the crew of the ship, the embassy staff, the villains, the playwright who was murdered and his insight into the crooked speculation with money?

7. Comment on the quality of the verbal humour, the playing with language and English and French? The humorous and farcical situations? The crises situations especially with the helicopter? The asylum sequences, the court case?

8. What does this kind of film presuppose in its audience as regards humour, the foibles of human nature, right and wrong, good prevailing? An entertaining comedy?

IL Y A LONGTEMPS QUE JE T'AIME (I’VE LOVED YOU SO LONG)

France, 2008, 110 minutes, Colour.
Kristen Scott Thomas, Elsa Zylberstein, Serge Hazanavicius, Laurent Grevill, Frederic Pierrot, Lise Segur, Claire Johnston.
Directed by Philip Claudelle.

Highly recommended for audiences who appreciate a strong human drama. It is insightfully written, powerfully acted and impeccably crafted. If anyone has wondered about the screen presence and acting ability of Kristin Scott Thomas, then this performance should persuade them of her talent.

Novelist Philippe Claudel has created a screenplay with autobiographical elements but focuses on the relationship between two sisters. The older, Juliette (Kristin Scott Thomas) has been absent for fifteen years. The full details of her story are revealed only gradually, step by step, the final and full story coming at the end of the film. The younger sister, Leah (Elsa Zylberstein), a professor, married with two adopted Vietnamese daughters, welcomes her sister back. She has been alienated from Juliette by her parents but brings her into her home, an opportunity for rehabilitation.

The relationship between the sisters as they confront the past and try to beuild their love again is intensely moving.

The supporting cast is rich in characters: Leah’s initially reluctant husband, Luc; the reserved professor, Michel, who proves to be important in Juliette’s reconstructing her life; the talkative divorce police captain who wants to pour out his soul but ends in tragedy; Luc’s benign scholarly father, mute after experiencing a stroke; and the two little girls, vivacious and loving. Then there are the hostile, suspicious, the rude people that Juliette encounters as she tries to find employment.

This is the story of a woman in mid-life, burdened by extraordinary suffering and trauma, being urged to come alive again through a supportive family and an opportunity for healing. It is the kind of film the French do so well.

1.A profoundly human drama? Humane, characters, relationships, redemption?

2.The city of Nancy, the airport, homes, college, the dance centre, the holiday house? The feel for the city, authentic? The score and the variety of moods?

3.The title, in relationship to Juliette, to Leah? The memories of childhood, the bonds, Juliette caring for Leah, the outings, protection, Juliette’s absence, the parents’ attitude, poisoning Leah’s mind against her sister, recovering the love?

4.The structure, the introduction to Juliette and Leah, the puzzle about Juliette’s life, her character, being away, an institution, discovering it as prison, the gradual revelation of the facts about the case, the effect on Juliette, her being a doctor, her child, illness and the truth?

5.The portrait of Juliette, Kristen Scott Thomas’s strong performance, her appearance, age, initially no makeup, drawn and tense, smoking, lacking social graces? Meeting Leah at the airport, the hesitation, going to the home, her room, Luc and his wariness, meeting the children and their delight in her, her sudden discovery of the grandfather, being in the house, with the family, gradually being at east not wanting Lise to recite the poem and her angry reaction? Going to the grandfather’s room and being comfortable, talking to Luc, talking to Leah, Leah’s remembering and not remembering the past? The story of the parents, their bitterness, the husband and the divorce, the child, the trial, eventually her seeing her mother, her mother suddenly remembering Juliette as a child, then loss of memory, her angers?

6.Pirol, going to see Captain Faure, his talking, his poster with the river, his hopes, pouring out his own life, his divorce, the flights to see his child, his care for Juliette, going to the restaurants, his continued talking, her listening, her encouraging him to go on his holiday, his making his decision, the new officer, Juliette’s shock (and the audience’s) at Faure’s suicide?

7.The lady for interviews about the jobs, her asking questions, the interview at the factory, seemingly accepted, the discovery of the truth, being ordered out? Going to the hospital, Captain Faure’s intervention, her getting the job, at work, the head saying she was not friendly, urging her to be more sociable, her getting the job permanently?

8.Michel, friends with Leah, at college, Juliette meeting him, comfortable with him, talking, his not probing the mystery, Michel with Leah, marking the exams, registering the marks? The visits, the Iraqi doctor and his wife, pregnant, the friends, the at home, the meals? The weekend party, the host drinking, his asking the truth about Juliette, her stating the fact, people laughing and not believing her, Michel realising the truth? Going out, talking gently with her? Taking her to the gallery, the woman in the frame and the memory of the woman he loved? Juliette hearing about his wife’s accidental death? Their talking, the eventual companionship, the gentlest of touches?

9.Juliette without the job, on her own, the memories of the bars, the young man and the pickup, the sexual encounter, telling him it wasn’t good, her later confiding in Leah?

10.The prospect of Juliette looking after the children, Luc and his hostility? Luc and his injury, dislocation, Juliette helping him, his changing his attitude? Suggesting that Juliette look after the children?

11.The character of Leah, tense, her relationship with Luc, tensions in the marriage, her work, her back-story, the adoptions, going to Vietnam, the Vietnamese children, formalities? Little Lise, getting her ready for school, her vitality at home, her room, comfortable with Juliette – despite the rebuff about the poem? The baby and her place in the family?

12.The piano, Lise learning from Juliette, playing, inviting Leah to play, the two sisters happily playing the piano together?

13.The changes in Juliette, willing to go to the dance, yet troubled, weeping, her resentment of Leah, her gratitude to Leah?

14.Leah and her discovering the documents, the poem, the diagnosis? Her ringing the Iraqi doctor? The nature of the disease? His describing it? Leah and her talking with Juliette, Juliette describing her son’s illness, his dying, the decision to kill him? Her saying that the loss of the child is a death for the mother?

15.The purging experience for Juliette, an atonement, reconciliation, the possibility of re-emerging into life and building a new life?

LADY JANE

France, 2008, 102 minutes, Colour.
Ariane Ascaride, Jean- Pierre Darroussin, Gerard Meylan.
Directed by Robert Guediguian.

Lady Jane is not your typically French title. It refers to a Rolling Stones’ song but, more specifically, to a boutique in Ais, managed by middle-aged Muriel who lives with her fifteen year old son. When her son is abducted, we learn that Lady Jane is also a criminal code name with its distinctive gang tattoo.

Robert Guidiguian has been something of a chronicler of life on the Marseilles waterfront and its neighbourhoods. Now he has opted for a change in theme and treatment, a drama of crime and revenge.

He still brings some vivid life to this part of the city and brings to life those who live and survive there, many with shady pasts.

He also plays with the time sequences so that audiences have to be on the alert to what has happened in the past and what is happening in the present. It is not what the audience might assume.

Guediguian uses his regular stars and crew whom we have seen quite often in this world before – especially his wife Ariane Ascaride who plays Muriel.

Strong on atmosphere and character, some twists in the plot and questions about the violence and the emptiness of revenge.

1.Guediguian and his films in Marseilles, social concern, social changes? This film as a change of pace for him?

2.The background of film noir, the plot, characters, suspense, violence, guns, murder, chases?

3.Marseilles as setting, Aix and the shop, authentic? School?

4.The title, the Rolling Stones song, Muriel and Lady Jane, the tattoo, the gang, her shop in Aix?

5.The plot, the opening with the masks and the carnival, audiences having to adapt to the time shifts? Muriel’s life, above the shop, at home, with Martin, at work, the phone call, the situation of the kidnapping?

6.Muriel as the central character, her age, the shop, living alone, her love for Martin, the clients in the shop, the phone call, her being upset, her going to Francois and Remy – after fifteen years? Standing at the car waiting? Their past, its becoming clear later, the bonds between them, Francois and his love for her, his having married and had a family in the meantime, the devotion and possessiveness of his wife? Remy, the past, violence, stealing, truckloads of goods, distribution? Their help, the contacts, the money, following Muriel, keeping guard, the phone calls, seeing the killer, following him home, his flat, his family, leading him to confront Muriel?

7.The ransom money, the issues of collecting it, the phone calls, Muriel waiting at the station, moving (*?) the place, the parking lot, giving the money, Martin and his rinning to his mother, being shot? Her grief?

8.The flashbacks, the story of the jeweller and his murder? The focus on the tattoo? Muriel behind the mask identifying herself as her father’s daughter? The back-story, her father in jail, his death, alleged suicide, pushed from the fifth floor, the warder, his leaving, becoming a jeweller, wealthy, Muriel and her gang killing him?

9.Francois, his character, his wife, children, her love? The wife’s realisation about Muriel? Remy and his criminal life? Their not having seen each other for years? The visit, Albert, Solange, the memories of the past, Albert and his help?

10.Muriel, going to the bar, meeting the young man, talking with him?

11.Capturing the young man, the truth, his character, motivation? His being the son of the jeweller? His witnessing his father’s death – and the flashback?

12.The confrontation, the violence, shooting, Francois shot? Remy and his attitude? Muriel, wanting to kill the young man, the realisation about revenge, saying that it had to stop somewhere? The aftermath and the quotations about the coldness of violence and revenge?