DEFINITELY MAYBE

US, 2008, 111 minutes, Colour.
Ryan Reynolds, Abigail Breslin, Rachel Weisz, Isla Fisher, Elizabeth Banks, Derek Luke.
Directed by Adam Brook.

Young Maya (Abigail Breslin, who has made such an impact in such films as Keane, No Reservations and Little Miss Sunshine), tells her father, William (Ryan Reynolds) that the story he is telling her and the audience is a romance and a mystery. She wants to know how he and her mother (who are now getting divorced) met and fell in love. She wants to know whether he had other girlfriends – and is shocked at times in his telling of the story to discover that he smoked, drank and, according to her standards, was the male equivalent of a slut.

Poor old William wasn’t quite that bad but we are in an age where a huge past scandal is smoking!

The way William tells Maya his story is to narrate it in linear fashion, (which we see in the extended flashbacks) without giving away which of the women he describes is actually her mother. There are three candidates. There is childhood sweetheart, Emily (Elizabeth Banks), whom he leaves in Wisconsin when he goes in 1992 to work for the Clinton campaign in New York. There is Emily’s college friend, Summer (Rachel Weisz) who is in a relationship with her drinking and womanising professor-author-critic whose name is (symbolically) Roth (Kevin Kline). And then there is April (Isla Fisher) who has no political convictions but has a basic common sense about life in general but who really needs to grow up and put her talents to good use.

I guessed wrongly about the mother, but the ending reassured me that I had actually read the film correctly after all. You will have to see the film to find out the ending – although it is one of those light comedy romances that is not essential viewing at all, though there is a bonus in the comments about Bill Clinton, campaigning, Monica Lewinsky etc as well as a joke at George W. Bush’s expense – and the US’s and for all of us).

The performances are quite good. Isla Fisher does kooky rather well (Wedding Daze, The Wedding Crashers). Rachel Weisz can do sophisticated charm as can Elizabeth Banks. The impact of the film rests on Ryan Reynolds who can do very crass (Van Wilder Party Liaison, Waiting), comic action (Blade 3), nice comedy (Just my Luck) as well as intelligently serious (The Nines). He does a pretty good job here. Writer-director, Adam Brooks, wrote Wimbledon and Bridget Jones: the Edge of Reason.

1.The popular romance, comedy, mystery?

2.The New York settings, the city, the 90s, the Clinton campaign, pre-Internet etc? The touch of nostalgia? The musical score, songs?

3.The background of the Clinton campaign, the campaign for governor, the criticism of Clinton, the Monica Lewinsky case? The jibe at President Bush?

4.The introduction to William Hayes, his office, job, advertising, his frustration, the divorce papers, picking up Maya at school, the crowd of kids, the sex education class, her explicit language, his embarrassment, at home with her?

5.Maya, her age, her relationship with her parents, at school, the sex education, criticising her father for smoking and drinking, wanting the male equivalent for slut? Wanting to hear the story of her parents’ meeting, listening, speculating, her writing notes?

6.William telling the story, the linear (*?) fashion, the element of mystery? William and his Wisconsin background, relationship with Emily, leaving, his dream, leaving the roommate behind, his lack of scruple? New York, the job, having to get the coffee, the mess with the toilet rolls, April and her laughing, working with Russell, Kelly, Gareth giving him orders, Roblado as the boss? At work, in the apartment, with Russell, reading the diary, going to see Summer, meeting the professor, his critique of politics? His selling the tables for the benefit dinner, on the up? Emily’s visit, the ring, rehearsing with April, the proposal, the truth and his dismay? His meeting with Summer, the relationship, her writing the article, success? His forming his own company with Russell? The ring for Summer, meeting April? The professor, the challenge of the new article, his asking her not to publish, Russell going away, the campaign failing? The benefit dinner for Roblado, Clinton coming, Chicago and the weather, the unions – and William’s ability to sort things out?

7.Audiences with Maya speculating which of the three women was her mother?

8.The years passing, meeting Summer, their talk, her inviting him to the party, buying the copy of Jane Eyre for April? Going to the apartment, meeting Kevin, not giving her the book? Meeting Emily at the party?

9.Emily as the mother, in the park, going to the zoo, the arguments? The divorce papers, his signing them?

10.The visit to April, her working for Amnesty, her completing her studies, the book and her being upset at getting it?

11.Maya, persuading William to go and visit April, her motivation, the issue of the different names and April’s being the true name, counting to thirty, going, April coming out, the truth about the book, his wanting to have part of her? The happy ending?

12.A satisfying look at contemporary relationships, difficulties in commitment, children?

OUT OF THE BLUE

New Zealand, 2006, 103 minutes, Colour.
Karl Urban, Matthew Sunderland, Lois Lawn, Simon Ferry.
Directed by Robert Sarkies.

Out of the Blue seems a rather quiet title with a suggestion of some surprise. This is how the opening of the film works, a leisurely look at a small New Zealand town near Dunedin which wakes up one November morning in 1990. There is a glimpse of a cross-section of people doing very ordinary things, breakfast, getting ready for work, kids going to school. Most audiences can identify with this kind of day.

One of the characters glimpsed seems a little odd. David Grey is a loner, living in an isolated house, with many books, some guns and military magazines. The film follows him going into the city by bike and bus, with some taunts from the kids in the school bus. He goes to the bank and, on being asked to pay an extra charge, he erupts and storms out. He checks on a gun he has put aside to buy later and returns home.

Later that morning, he is confronted by a neighbour and he explodes, shooting the man, his wife and some children. A siege begins which lasts all the day, through the night and is only resolved with Grey’s death the next morning.

There are suggestions about what made Grey the way he was, living along, preoccupied with guns and military magazines, edgy in his mental illness. His behaviour is unpredictable, firing shots yet quietly entering a house and sleeping the night there.

What impresses about the film and its treatment of the terrible events is that it does not glamourise them in any way. People are frightened and uncertain about what is happening and what to do. The police are doing their best but have to work out strategies for something they have never anticipated. They are fearful, sometimes hesitant, but courageous. Wounded people are stranded. An old woman is trapped in her home but keeps in touch by phone.

The media also descend on the town.

Editing and pace are just right to make this a tribute to those involved, a memorial for those who have died. (In the 1980s two other films about murderous outbreaks in New Zealand were made, Bad Blood and Beyond Reasonable Doubt.)

1.The impact of the film? Memoir? Tribute? The true story, using the actual locations? The collaboration of the characters in the making of the film? Their approval? A glimpse into the New Zealand psyche?

2.The South Island locations, the town, the bay, homes, streets, the police precinct, the hospital, going into Dunedin? An authentic feel of New Zealand? The musical score?

3.The title, David Malcolm Gray's action out of the blue?

4.The leisurely introduction to the town and the people, the day and the date, the family waking, the killer and his home, books? The children, the police, the mother and her plans? Jimmy and his care for his mother? Mundane, detailed, ordinary, a collage, audiences able to identify with the place, the people, the situation?

5.David Gray, alone, his house, the books, the desk, guns? His lifestyle? His going to town, the bike, passing Jimmy, the schoolkids taunting him? The loner, on the outer? Going into the city, the bank, his eruption over the bank charge, talking about his family, his anger, going to check on the gun that he was to buy? The return? His mental illness?

6.The family and the man on the property, their life, characters, ordinary? An ordinary day? With Gray, Gray shooting him, shooting the children? The woman lying on the ground - her survival for the day but her eventual death?

7.Gray, firing, his targets, putting on camouflage, going outside, wary, random shots, killing the man at the phone booth, circling the house, hiding and sleeping in the house?

8.The mother, her little girl, taking her to the hospital, the other dead girl, her grief?

9.Jimmy's mother, her home, the detail, the knick-knacks (and Gray later looking at all of these)? Going out, the man shot, her talking to him, climbing through the ditch, into the house, the phone calls to the police, the ambulance, her hiding, the phone calls to her, the fridge, Gray in the house, her surviving, the death of her son?

10.The old couple, walking down the street? The man shot at the phone booth, his lingering during the day, talking with Helen, the ambulance coming too late?

11.The picture of the police, Stu, a good man in charge, the respect of his police, Nick, arriving for work, reading, the detail of work, his going home, his wife, family, working on the roof? The other police and their being called in? The time taken to travel to the scene of the crime?

12.The media, following, watching, photographing, the news on television?

13.The police, their fears, uncertainties, courage, the broken equipment, trying to keep contact, making judgments, Stu and his enterprise, his being killed? The dead woman? Nick, his character, with Stu, with his associate? Having Gray in his sights, hesitating, missing the opportunity? The effect on him? Talking with his partner? Collecting the dead, the children on the truck?

14.The confrontation with Gray, his death?

15.The aftermath of the episode, the effect on New Zealand consciousness?

16.The film revisiting real events, a tribute to the people concerned, realism and unexpected violence in ordinary situations?

LOOKING FOR ALIBRANDI

Australia, 2000, 103 minutes, Colour.
Greta Scacchi, Anthony La Paglia, Elena Cotta, Kerry Walker, Pia Miranda, Kick Garry, Matthew Newton.
Directed by Kate Wood.

Looking for Alibrandi is based on the very popular novel about adolescence by Melina Marchetta. She also adapted the novel for the screen.

The film won the award for best film at the Australian Film Institute Awards. Pia Miranda and Greta Scacchi both won acting awards. Pia Miranda's performance is very striking, not only her performance but also the quality and intonations and meaning of her continued voice-over during the film.

The film focuses on Italians in Australia, three generations. It shows Italian customs, gathering, delight in food - as well as strict moral standards and reporting back to family authorities if there is a sense of a transgression. Josie, Pia Miranda, is rebelling against this. She is the only daughter of a single mother, played with sympathy by Greta Scacchi. The father is unknown - but is soon guessed when a lawyer comes back from Adelaide to Sydney and it is obvious that he is the father. He is played by Anthony La Paglia. Elena Cotta is the dominating grandmother with some secrets of her own which make a difference to her continued saying that there is a curse on her daughters.

Kerry Walker is very sympathetic as a credible contemporary nun and teacher. Matthew Newton in an early role is a golden-haired young man who commits suicide. Kick Garry is the sympathetic boy from across the tracks.

The film is often exuberant, sometimes very sad, tracing the experiences and uncertainties of a very determined young girl. Comparisons might be made with Kathy Randall's film Hey, Hey, It's Esther Blueberger with Danielle Catanzariti, Keisha Castle -Hughes and Toni Collette.

1.The film's awards? Popular in Australia? The Australian spirit and atmosphere?

2.The Italians, their stories, background in Sicily, the isolating experience of World War Two, internment? Arranged marriages? Language difficulties, customs, food, singing, gatherings? Gossiping and reporting? The Australian experience of Italians? The suitability of the main cast for these roles?

3.Sydney, the homes, workplaces, school, the opera house, the harbour, the bridge? The atmosphere of Sydney? The musical score, songs?

4.Josie's voice-over, strong and shrewd, ambitious, her hopes, resentments, imagining her future in fantasies, especially as the wife of John Barton and being Attorney-General?

5.Katia and the Alibrandi curse, as applied to Christina, to Josie? The truth about Katia's behaviour, breaking the curse?

6.The portrait of Josie, her age, the three generations of women, the absent father, at home with her mother, the regular visits to her grandmother, her analysing her mother, at school, Sister Louise, her smart talk, the interview with Sister, her being vice-captain, the scholarship? The boys coming to the school, her crush on John Barton? The speech competition, Jacob and his manner, his speech? Her going to the dance, the dress, John not asking her to dance, dancing with Jacob, talking with John afterwards? Her meeting Michael, her reaction, at the gathering, resenting him, being rude to him? The lift with Jacob? Her walking away from her father? The sudden impact of John Barton's suicide, at the funeral? Her exams and diligence? Her grandmother and the photo albums, the talk about Marcus? With her father, hitting the girl with the science book and breaking her nose, her strong stand, Michael coming to her rescue? The bonding? Going out with Jacob, the movie, leaving him? To his home, the sexual advances, her decision to leave? Her relying on her girlfriends and their discussing everything? The finale, inviting the girls in, the whole Italian gathering, everybody dancing? Her future?

7.Christina and her story, her secret, raising Josie, exasperated with her mother, the Italian traditions? The back-story about Michael, in love with him, the car? His going away? Her concern about Josie, Jacob and his rough manner? Her going out with the doctor? The truth about her mother, the effect, relief?

8.Katia, stern, saying her prayers, fussing, gossip and everybody reporting back, the curse? Her relating to Christina? Taking out her own frustrations on her daughter? Josie, the photo albums? Her relationship with Marcus, with her brutal husband? Not going with Marcus? Josie realising the truth, the dates of her mother's birth, the story? Her grandmother saying she did penance by staying with her husband?

9.Michael, not knowing he had a daughter, the return, his success, meeting Christina, discovering Josie? Meeting her, her antagonism, her calling him for help? The bonding, the outings? Meeting Jacob and giving him a lift? A future?

10.John Barton, the golden boy, his senator father, political expectations, his friendship with Josie, the captain of the school, in the debating team, not dancing, his feeling pressure from his parents, his sudden death, the note to Josie and her reading it and tearing it up?

11.Jacob, the contrast, the public school, the casual speech but effective, his manner, dress, his father, going out with Josie, the films, her walking away, at home, the sexual encounter - and Josie leaving? The reconciliation at the end?

12.Josie's girlfriends, the chatter, their support of her?

13.The snobbish girl, the model, her taunts, Josie bashing her with the book, her father and his outspoken words, Michael coming, threatening him with his racism on radio, the settlement of the case?

14.Sister Louise, the contemporary nun, her dress, manner, in class, interacting with Josie, the scholarship, knowing what was going on? Her being at the funeral and trying to support Josie?

15.The Catholic subtext, Italian Australians, faith, piety - moral sense, surface or deep?

16.An insightful film about a teenage girl? Issues, challenges, maturing?

CALLAWAY WENT THATAWAY

US, 1951, 81 minutes, Black and white.
Fred Mac Murray, Dorothy Maguire, Howard Keel, Jesse White, Stan Freberg.
Directed by Melvyn Frank and Norman Panama.

Callaway Went Thataway is only brief but it is a very entertaining, sometimes delightful film from the early 1950s. It opens with cowboy films being watched on television - an echo of the popular cowboys on screen in the 1930s and 40s like Hopalong Cassidy, Gene Autry and Roy Rogers. Some smart marketers want to reprogram the films for television and want the star to go around America promoting the films. The difficulty is that he has disappeared - and in fact is a womaniser and a drunk. They get the bright idea of finding a lookalike who then, reluctantly and in an 'aw shucks' way, agrees to do the impersonation. While things go very well - and it is interesting to see in 1951 the amount of merchandising that accompanied films, not just a later development by George Lucas and co - but there is a twist when the real cowboy is found by an enterprising agent and comes back, wanting a share of the money. In training, he is hopeless, hides a lot of his liquor. Desperately, the marketers have to call back the impersonator. In the meantime, he has been rebuked by a lady talking about the ill children and has signed away all his earnings for a charitable foundation.

Fred Mac Murray is at home in this kind of role, the brash entrepreneur. Dorothy Maguire, always charming, is his assistant. The surprise of the film is Howard Keel in a very early role, just after he made Annie Get Your Gun. He portrays both the cowboy, Smoky Callaway, and the farmhand, Stretch Barnes, with quite some differences bringing each of them to life. At one stage he has a trick photography fight with himself! Jesse White is the agent.

The film was written and directed by Melvyn Frank and Norman Panama who had a long career of writing and directing together. Soon after this they had great success with Knock on Wood, White Christmas and The Court Jester.

1.An entertaining supporting feature? In later decades?

2.Hollywood, agencies? The world of television? Business executives, marketers, promoters? The world of the 1950s compared with later decades? The emphasis on merchandising? Promotional tours?

3.Black and white photography, the comic sequences, the action sequences, the western films?

4.Mike and Deborah, their work together, collaboration, watching the Smoky Callaway films? The idea of promoting them? The spiel to the executives? Their trying to find Callaway? Their sending George Markham to find him? The pressure, the popularity of the films? The demand for the tour?

5.The decision to find a substitute, photo, going to Colorado, meeting Stretch Barnes? His manner, style, the opposite of Callaway? Genial, not having travelled? Their powers of persuasion to get him to take Callaway's place?

6.Stretch and Los Angeles, his final agreement, his getting used to living in Los Angeles? The rehearsals, his mistakes? His being too nice? The sequence where he went to the club and met Esther Williams, Elizabeth Taylor and Clark Gable - and had no idea who they were?

7.The tour, the style of promotion, Stretch and his meeting the children, the public, the huge turnouts? The western action?

8.The effect on Stretch, his feeling guilty? The woman reprimanding him about the children? His going to the bank, his decision to give away the money, setting up the contract?

9.George Markham finding the real Smoky, in the bar, with the women, alcoholic? Bringing him back to Los Angeles? The contact with Mike and Deborah? Their dilemma, handling it, the effect on Stretch?

10.The behaviour of Smoky, trying to go into training, his being ineffectual, hiding the drink, alcoholic?

11.The final promotion, desperation, trying to persuade Stretch to perform once again? Deborah and her relationship with Stretch, his respect for her, her having to admit the deception, Mike and his admittance? Stretch and his final agreement - with the result that the money went to the children?

12.The humour at the expense of Hollywood, agents, promoters, television? The authentic feel of the cowboy from the authentic American west?

KILLER McCOY

US, 1947, 104 minutes, Black and white.
Mickey Rooney, Brian Donlevy, Ann Blyth, James Dunne, Tom Tully, Sam Levine.
Directed by Roy Rowland.

Killer Mc Coy is a boxing film with Mickey Rooney as a contender for a heavyweight championship. The film shows his background, his work with his father, a washed-out vaudeville star who likes to perform in public, forcing his son into the act. In reaction against him, especially with the father's unreliability and alcohol. Brian Donlevy plays a crooked promoter who exploits the young man. He encounters his daughter, played by Ann Blyth, who is not aware of what her father does.

The film has predictable material, but is presented with some vigour, especially the boxing sequences. This was a film for Mickey Rooney to make a transition from his youthful roles, especially Andy Hardy, to more adult roles. While he was a durable actor, he did not have the expected career that his earlier roles might have led to.

1.A boxing film? The tradition of boxing films? Central characters, their struggles, training, bouts, victories, losses?

2.The black and white photography, US 1947, the world of boxing, the world of poverty, affluence? The musical score?

3.The title, Mickey Rooney, his screen presence? As a young boy, with his father, his father and the pressures to do the vaudeville act, his unwillingness? Yet his devotion to his father? His father's travelling, alcoholism, unreliability? Tommy's reaction? His skill at boxing, his being taken up and promoted? His relationship with Cecil Walsh, with Happy?

4.The encounter with Jim Caighn, tough, ruthless, his office, the interview? His seeing value in Tommy? The promotion, the training, the fights, his power?

5.Sheila, her father, the meeting with Tommy, their going out, her reaction, her falling in love, her support of Tommy?

6.The boxing sequences, the difficulties, the training, the bouts? The pressure on Tommy? His reaction? His violent reaction, the injuries? His saving his reputation?

7.Father Ryan, his interest in Tommy, his advice, support?

8.The minor characters in the boxing world, trainers, followers, bets? Managers?

9.An interesting variation on boxing themes?

EVEN MONEY

US, 2006, 113 minutes, Colour.
Kim Basinger, Danny De Vito, Tim Roth, Kelsey Grammer, Nick Cannon, Forest Whitaker, Ray Liotta, Carla Gugino, Grant Sullivan, Jay Mohr.
Directed by Mark Rydell.

Even Money is a film about addiction rather than gambling. It has various intersecting stories (in the Altman tradition or as in its contemporary, the Oscar winner Crash). It was directed by Mark Rydell who had begun in television in the 1960s then moved into feature films with such interesting films as The Fox, The Reivers and the John Wayne vehicle The Cowboys. He also directed The Rose and On Golden Pond.

Kim Basinger is very good as the novelist who has an addiction to slot machines. She encounters a washed-up magician, Danny De Vito, who introduces her to Blackjack. Together they dream of winning big, the novelist repaying her family debt, the magician hoping to go to the big-time. Another strand in the story is that of Forest Whitaker as a mechanic whose brother is a champion basketball player and whom he persuades to shave points so that the matches are fixed.

Tim Roth is at the centre of the film as the bookie, responsible for murders, cruel in his treatment of people, ruthless in his fixing games. Confronting him is Detective Brunner, played by Kelsey Grammer (who intones commentary at the beginning and the end about life and death, risk and money - with some more unexpectedly cynical touches at the end).

Another strand concerns two friends who also act as bookies and become entangled with the Tim Roth character. They are played by Jay Mohr and Grant Sullivan. Carla Guggino is Sullivan's girlfriend who is horrified to learn what he does. Ray Liotta also appears as the novelist's husband. Nick Cannon is the younger brother, the basketball player. The cast is a fine ensemble.

While some of the material is familiar, it is very well done. Kim Basinger is persuasive in her addiction as well as her love for her husband and family. Ray Liotta is quite sympathetic - though his turning against his wife at the end comes somewhat unexpectedly. Forest Whitaker gives a very fine performance, full of enthusiasm as well as self-sacrifice. Tim Roth, using his own British accent, is completely sinister.

The film communicates the atmosphere of gambling in the United States, on sports, in casinos. In portraying the characters so well, the audience is able to understand and feel something of the pressures of addiction.

1.The impact of the film, the strong cast, the different stories, their interweaving?

2.A film about gambling or a film about addiction and its effects?

3.The storytelling, the range of characters, motivations, luck, good and bad? The title - and good or bad luck, even money?

4.The opening, Detective Brunner's voice-over commenting on life? The body washed ashore? Fate, control, truth, right and wrong - and Brunner's comments at the end and his own employment by Ivan?

5.The character of Ivan, unseen, real or unreal, honourable or not? Victor representing him? The consequences? The real Ivan at the end with Detective Brunner?

6.Kelsey Grammer as the detective, the investigations, pushing characters, knowing them all, almost being killed by Victor? His being in the pay of Ivan?

7.Los Angeles, the casinos, homes, the gamblers, the sports addicts? The basketball games?

8.The stories:

(a) Carolyn, a writer, her success, husband and child, her absences from home, writing in Starbucks, the other writers - and the encounter with the man who admired her work? Her gambling, losing, lying, her love for her husband? The encounters with Walter and her resisting him? His sleight-of-hand? Introducing her to Blackjack, her enormous success, luck? Losing all the money? Going through the family savings? Her relationship with her husband? His finding her, her anger and his response? Her admitting the truth? Her loving him - but his wanting a divorce? Walter, the setting up of the sports bet? Its failure? Her realisation that she did have a new book, writing about Walter? The final book-signing - and her husband coming for the signing, for a reconciliation?

(b) Victor, tough, British, Augie and Murphy, the discussions about joining him, the discussions, their being taped, his being responsible for the murder at the beginning, his decision to kill and poison Augie? His interactions with Walter wanting to see Ivan? With the police? His self-confidence? At the match, the defeat, his trying to fix the game? The confrontation with Brunner? Walter killing him?

(c) Walter, the great magician, his tricks and tips, watching Carolyn, helping her, the bond? His past glory, his caravan, posters? His hopes? his wizardry at sleight-of-hand, the various tricks and tips in the casinos? The final bet, his confidence, the confrontation with Victor and killing him, Brunner letting him go, his hanging himself?

(d) Augie and Murph, bets, tough, bashing people, their rationalisation that they were providing a service, Augie and his continued stress, going to the doctors? Murph and his relationship with Veronica? Her finding out the truth, her wanting to break off, the plan, Murph and his boxing, his reaction to Augie, wanting out? Augie and the dinner, the sauna, taping Victor? His being poisoned? Veronica telling him what had happened? His anger - and the possibility of change and support from Veronica?

(e) Clyde Snow, the mechanic, his own business, gambling, his losses, the standover tactics, going to his brother, cheering him, asking for the favour, the pressure? His brother and his character, his championing the team? Relationship with the coach? Victor and his confrontation with Clyde? The plan to fix the game? Clyde and his decision, supporting his brother, telling him there was no pressure? The play, the coach and his suspicions of the brother? The final bet? His cheering his brother on? Driving, singing, his death?

(f) The basketball games, the matches, the winning? Clyde and his brother, the coach? Victor and the fixing of matches? The bets?

(g) Victor, his relationship with Ivan? The fact that Ivan did exist? His control, his replacing Victor? Having Detective Brunner in his pay?

9. The resolution of the stories, some good luck, some bad luck, personal responsibility and choices, control and integrity?

THE NIGHT

Iran, 2008, 97 minutes, Colour.
Directed by Rasul Sadrameli.

The Night is a low-key amusing story of an odd couple. It was directed by Rasul Sadrameli who had a great success with I’m Taraneh, Fifteen Years Old. (The film won The SIGNIS interfaith award at the Brisbane film festival in 2003.)

The film focuses on a young soldier who is asked to take an elderly criminal from one city to another. The older man has been in prison, learned something about medicine, claims he is a doctor. The difficulty is that they cannot get on a bus to go on their trip during the night. The soldier is anxious to make a good impression, not lose his job, and is travelling to his wedding. The old man promises not to escape.

They get some board and lodging with an old man who is kindly. However, there are complications, the young soldier has food poisoning and has to go to hospital, the old man and the host go to a shrine – and the old man disappears. He hears news of his wife’s death by phone and finally goes back and the two men continue the journey together, to the great relief of the soldier.

The film is humane – and has touches of comedy.

1.The impact of the story, the characters, the situation, the comic touches, the potential for tragedy?

2.The setting, the town, the bus station, the accommodation, the streets, the markets, the shrine? Authentic?

3.The title, the focus on the night, the effect for each of the characters?

4.The young man, at the beginning of his military career, getting the job, taking charge of the old man, talking with him, the handcuffs? His growing more desperate as they could not get on a bus? Going to the accommodation, the old man, getting the room? Settling down? The sergeant getting sick, becoming desperate, fearing the old man would escape? His promise? Going to the hospital, his being looked after? The disappearance of the old man, the sergeant getting desperate, the authorities and their lack of consideration? The old host and his care? The disappearance of the old man, the two men sitting in the shrine, suddenly glimpsing the criminal, his coming back, the relief, continuing the journey?

5.The old man, in prison, learning about medicine, passing himself off as a doctor? His attitude, the touch of humour, old, experienced? The discussions with the young soldier? Promising not to escape? The illness, going to the hospital? His phone calls to his wife? His wanting to go to the shrine, going with the host, the handcuffs off? His escape, hearing of the death of his wife? His wandering, the prayers? Going back to the sergeant, continuing the journey?

6.The host, taking in the couple, the room, the concern about the illness, the issue of the shrine, going with the old criminal, letting him go, the return, the vigil with the sergeant? Seeing the two off?

7.The ordinary background and characters, at the bus station, the authorities, at the hospital, at the shrine, at the markets? An authentic feel?

8.The blend of comedy and pathos?

ANOTHER BIRTH

Iran, 2008, 92 minutes, Colour.
Directed by Abbas Rafeyi.

Another Birth is a Lebanese -Iranian co-production filmed in Lebanon soon after the attack by Israel in 2006. It is a journey of search by a sailor who tries to find out where his pregnant wife has been evacuated to. This means that he arrives in Beirut and travels over the south, discovering the devastation of the war – and it is visualised for audiences to see and gauge the severity of the loss of life and the overall damage.

A similar theme is found in Sous Les Bombes, also filmed in war-ravaged Lebanon at this time.

1.The Lebanese background? Iranian perspective? The war, Hezbollah, Israel? The ordinary citizens caught up in these wars?

2.The location photography, Lebanon in the south, the towns, the destruction, the desert, the musical score?

3.The focus on the theme of birth?

4.The ship, at sea, Zoheir, talking to the old sailor, discussing marriage, love, pregnancy? Interview with the captain? The decision that he go to find his wife?

5.The journey to find his wife, on the small boat, driving, the phone calls, buying the car, driving through the countryside, escaping the bombs, the ruins and destruction, his house, his wife gone, seeing his brother-in-law?

6.The brother-in-law, the news, his mission, the bag, driving with Zoheir, the explosions, contacting his lead, finding him dead, continuing to go to his mission, the exploding car, his own death?

7.The intersection with the scenes with the wife, the hospital, the bombings, the nurses hurrying with the babies, the risk of losing their identities? The nurse and her concern, the pregnant wife, the refuge, the blood on the nurse’s uniform, the chaos, the injuries?

8.Zoheir, continuing the mission for his brother-in-law, carrying the bag, looking at its contents, puzzling about the purpose? The crashing of the car for the diversion and to distract the Israeli planes?

9.The TV news, Israel, the reference to Zionists, the planes continually going over, the bombardments, the tracking devices?

10.The birth, Zoheir sending in the ring to his wife, the joy at the new child?

11.Lebanon and its suffering during the war, the possibility of new birth and hope?

WINTER SLEEP

Iran, 2008, 90 minutes, Colour.
Directed by Siamak Shayeghi.

Winter Sleep is an Iranian film, a variation on Chekhov’s Three Sisters. The three sisters remember their father, live in an impoverished house with the noises of planes going overhead. The older sister is on crutches, unable to teach – although a kindly man arranges for her to go back to school. The younger sister is studying accountancy and has a surly manner as well as a tantalising one, especially with a young taxi driver who is attracted to her.

The main focus is on the middle sister, a rather severe woman, who manages a tile factory. She clashes with the designer, with the union leader. However, the tile designer comes to her house, offers her a new design – and she mellows somewhat.

The film is a low-key portrait of three Iranian women.

1.A variation on the Three Sisters theme? The patterns in Islamic life? Iranian life?

2.The ordinary settings, the old house, the noise from the plane overhead, the streets, lectures, schools, modern factories?

3.The opening with the veneration of the father? His memory?

4.The three sisters at home, the bonds between them, their ages, tensions?

5.The focus on the middle sister, at home, at work, her cold manner, in the office, her interactions with the designer of the tiles, with the union leader, with the owner, his attention to her and wanting to marry her? Terse? At home, her concerns, the new designs, the designer coming to the home, her welcoming him? A future?

6.The older sister, on crutches, busy, not wanting to be wheeled, not wanting to be dependent, the visit of the elderly friend, his intervention for the school, her going to teach again?

7.The youngest sister, at classes, walking out, wanting to be an accountant, the young man and his taxi, the discussion about the job, the advice for the application, mischievous at home?

8.The men as subordinate to the women: the designer, the union leader, the taxi man, the elderly man on crutches, the owner of the business?

9.The quiet resolution at the end – and the hope for a future for each of them?

EARTH’S CHILD

Iran, 2008, 90 minutes, Colour.
Mahtab Nasirpour, Shavnam Moghaddami.
Directed by Mohammed Ali Ahangar.

Earth’s Child takes audiences back to the Iraq -Iran war almost twenty years after its ending. This time the focus is on corpses of Iranians who died on Iraqui soil and a quest of a grieving wife to find her husband’s body. It is a journey of piety as well as a journey fraught with danger from guides, from hostile or suspicious tribes along the borders.

The story is harsh, the experience rugged but also one that is inspired by faith.

1.The impact for Iranian audiences? The war, the continued wars in the Middle East for the 21st century, Iranian history, trauma, grief?

2.The film based on facts, generally unknown to the Iranian public? Communicating them in a feature film rather than a documentary?

3.The Iraq-Iran? war, the decisions, the long duration, the politics, Iraq and the invasion, the effect on the Iranians, the dead soldiers, the widows, the bereaved families?

4.The searches for the bodies of soldiers, for decades after the war, the finding of incorrupt bodies, considering them holy, the quest for finding them?

5.The faith dimension of the film: faith in Allah, sense of destiny, the power of prayer, the issue of holiness, promises and pledges, pilgrimages, prayer of gratitude?

6.The situation, the woman getting the information about her husband’s body, her photos, the fate of her husband, the sixteen years, her son, the travelling in the bus, going to the agent, the issue of money, arguing with her son, meeting Mavarin, Gona? Going with them? The son’s protest?

7.The desert locations, the Iran-Iraq? border, the authorities, the arresting of the young boy, the administrator, the info, Maravin and his presence, the photos?

8.The hardships of travel, Mavarin and Gona, the caravan, the arguments, the woman pulling the gun? The raiders and their fanaticism, burning the tomb? Gona and her continuing with the woman, the donkey ride? The further hardships, the mountains, the location, the wrecked plane, the skull and the skeleton, the woman’s decisions, taking part of the body, the skull, a sense of closure, her spirit of faith?

9.Gona, her knowledge of the bodies, the bones, the meeting at the border, the market for bones, the documentation, IDs, whether the bones were those of Iranians or Iraqis? The money deals? The incorrupt bodies, the holy bodies? Gona and her fears, pregnancy, her talking with Mavarin on the initial ride, facing the gun, the woman giving her the gun, the group, the friendship with Mona, going into labour pains, the finding of the body, giving birth, her pledges, her death?

10.The people in the caravan, the Kurdish background, wanting money, the gun, Mona and her friendship, the pledge?

11.The wife, helping with the birth of the child, calling the child after her husband, not needing to bury him, getting a new life, the fulfilment of her prayer?

12.The title, the new child, a child of hope?