ZELLY AND ME

US, 1988, 87 minutes, Colour.
Isabella Rossellini, Alexandra Johnes, Glynnis Johns, David Lynch, Joe Morton.

Zelly and Me is small kind gentle film, something like a miniature. Filmed in Virginia, it focuses on a little girl, and orphan, her devotion to her nurse, her confrontations with her possessive and discipline grandmother. Alexandra Johns is the small girl, Phoebe, caught up in the vision of Madame Zielie (Zelly) and the stories of Joan of Arc and her inner voices, her persecution and her heroism. The children at school are severe with her, so is her grandmother.

Zelly is played attractively by Isabella Rosselini (reminding us that her mother, Ingrid Bergman, played Joan of Arc). Glynis Johns is Coco, the grandmother. David Lynch also appears as Willy, seemingly the son of gentry in Virginia but in fact a servant. Lynch is extraordinarily gentle when one thinks of his screenplays for Eraserhead, Blue Velvet, Wild at Heart and Twin Peaks. Joe Morton appears as the gardener.

The film was written and directed by Tina Rathborne and shows a very strong feminine sensibility.

1. An attractive story of a child, family love, fear, inner voices?

2. The Virginian settings, the city, the countryside, the mansions? the gardens, the atmosphere of affluence? The gentle musical score?

3. The title, Phoebe's perspective, her relationship to Mademoiselle, the nickname Zelly? The influence of Zelly on Phoebe?

4. The portrait of Phoebe: at school, alone, the children wanting to be friends, to come over, the hold of her grandmother and her refusal? The children severe on her in the bus, the boys attacking her and almost breaking her record of Joan of Arc? Her listening to Mademoiselle's voices and the story of Joan of Arc, the inspiration of Joan of Arc? Getting home, the gentleness of the house, her relationship with the gardener and his kindness, the dog? With Mademoiselle and wanting her to be at home, not go out? With her grandmother and her grandmother's gift? everything seemingly happy? Her toys, her dolls? Preferring Mademoiselle's gifts rather than her grandmother's? The dog and its hunting the bird, the grandmother tying the bird around the dog's neck and Phoebe upset? Her not using her grandmothers toy? Her grandmother's severity, Phoebe's reactions, her grandmother demanding apologies, on her knees? Her giving the apology? Her Love for Mademoiselle, sharing, Joan of Arc stories? Telling Mademoiselle what happened with her grandmother? Her grandmother's further severity and the hurt? Showing her the room that was hers, her parents, promising the room? Then isolating her? Forbidding her the toys? Phoebe going to Zelly, sleeping quietly in the room, the disappointment when Zelly was not there? The possibility of going with Zelly - in the taxi, the talk, not wanting to go, changing her mind Zelly deciding to take her back, the police waiting, her grandmother being severe, her going back inside? Her grandmother's harsh treatment - but her going to school the next day? Her own inner strength - and how this would sustain her? Zelly's promise to come to her wedding? How convincing portrait of a little girl, learning about love and hatred?

5. Mademoiselle, her French background, care for Phoebe, intimidated by the grandmother, trying to do her job, meals, caring for the little girl, the toys? Her own life - her love for Willy, assuming that he was the son of the house? Wanting to go away but returning? Her being sacked by Coco? Her pleading for Phoebe? Her going to Willy, telling him the story, the night together, being loved? Willy having to do his work? The decision to take Phoebe, the taxi, the talk, taking her back? The police treatment, Coco having to let her go? The return to Willy, discovering the truth about him? Phoebe gift of the posy, the money from Willy - and her future?

6. Coco, the strong women, her children killed in the plane crash, caring for Phoebe, wanting to love her, giving her gifts, but her discipline, severity, the prima donna approach? Wanting apologies? Dismissing Mademoiselle? Wanting her arrested? The severity with Phoebe in the new room? Would she be able to demonstrate her love for her grandchild? Her not being able to listen to Mademoiselle's advice?

7. The gardener, the maid - their work in the house, dependant on Coco? Earl and the news of the birth of his child? His care for Phoebe, dismissed by Coco? The incident with the dog and the bird to be tied around its neck?

8. Willy, dreamlike, loving Mademoiselle, the evening with her, listening, loving, having to do his work - and unable to tell her the truth? Giving her the money? Seeing him as the servant?

9. The children in the bus, their cruelty to one another, the attitude of the bus driver?

10. Going into a small world? Looking at the characters, their motivations, interactions? Authentic, insightful?

El SUENO DEL PERO (THE DOG’S DREAM)

Argentina, 2008, 90minutes, Colour.
Guillermo Ageneleni.
Directed by Paulo Pecora

El Sueno Del Pero is a poetic film. The director had made a number of short films and made a short feature on this theme, getting some financial help from the SIGNIS Post -Production Fund. He has expanded the story into a dreamlike film.

The film is also a mosaic, moving to different places, to different times. The central character is a writer. We see him in the countryside, alone (although there are scenes with his wife and family, presumably they have been killed tragically). He observes life in the countryside, tries to write, encounters a young boy, some adults who are brutal to the boy, an old man who dies. He participates in the funeral. He becomes friendly with the boy who reads the story that he is writing. The boy provides a voice-over – the story of human dreams, a dog’s dream, stories being told by the ever- flowing river. There are also sequences in Buenos Ares, drained in colour, the writer with block trying to write at home, packing up, leaving.

1. It is very difficult to piece the film together in chronological order. Rather, audiences will observe various facets of a character, leaving them parts of a puzzle? Have an emotional response as well as a sense response.

2. The activities of the writer, the beauty of the terrain, the symbols of the river, the children, the forests, the dogs. Ultimately, the dog discovers that his dream is that of a human dream.

3. The poetic nature of the film, a search for meaning, a search for identity?

4. The mosaic, the pieces, in terms of character and characteristics, the dogs, the flowing river, the countryside, the house, the author’s work, issues of death? Buenos Ares, the streets, houses, work?

5. The beauty in the river, the woods, the contrast with the city?

6. The title, the visuals, the humans, the dogs?

7. The man, his family, the scenes, their disappearance? In the city, alone, smoking, writing, block? The end, packing, the dog?

8. The man in the country, the house, pouring the oil to burn the house? His life, the boy, the men working, chopping the trees, beating the boy, the old man, his death, the boat and the coffin, the funeral, on the river, in the woods, dreams? Waking from dreams?

9. The voice-over of the boy, reading the story, the role of the dog, the dog’s dreams? The dog’s character, behaviour? The bonds between man and dog?

10. The mix of dreams, the dog being the man, awaking?

11. Themes of identity, life, life in pieces, memory, creativity?

THOSE THREE

Iran, 2007, 80 minutes, Colour.
Directed by Naghi Nemati

Those Three is a short story, filmed poetically in the snowy mountains of northern Iran. The director and his crew spent a period of over two years making the film.

The focus is on three conscripts who are discontented with their training and decide to desert. The initial focus is on the men, their training, the officer in charge. However, most of the film is their trek through the snow, their gradually weakening, their interactions with each other, meeting a group of young boys on the way, encountering a pregnant woman who was smuggled over the border but abandoned by the smuggler. Eventually, nature overwhelms them and they die. However, the woman is very strong and gives birth to a child. With these themes of birth and death in the vast indifference of nature, the film is very much a mood piece, very grim.

1. A short story, the poetic visual style, fatalistic, death and birth?

2. The importance of the location, the snowscapes, the snow itself, on the ground, falling? The isolated trees? The ruined village? The aftermath of an earthquake? The musical score?

3. The prologue, the three men, in the warm baths, talking, the man in solitary, the joke about the turtle and its turning back from Everest? The ending and a kind of paradise in the warmth of the baths?

4. The training, 2 months, the officer in charge, resting, the issue of cigarettes, the fighting, the financial deals to sell cigarettes to the other soldiers?

5. The three as individuals, Esse, Josef, Darius? Esse and his wanting to go home, Josef following him, Darius and his surly attitude, watching them, following? The plan, their walking, in circles, the trees, the encounter with the kids, the woman and her pregnancy, the story of the smuggler? The phone and Esse talking to his family? Josef and his being unable to speak? The voice-over?

6. The shelter, the fire, need of food, the growing weakness, walking, the final collapse, their deaths?

7. The woman being strong, the blanket, giving birth? The final cry of the child over the snowscapes and the dead men?

TRAITOR

US, 2008, 114 minutes, Colour.
Don Cheadle, Guy Pearce, Said Taghmaoui, Neal Mc Donough, Jeff Daniels, Archie Panjabi, Alyy Khan, Raad Rawi.
Directed by Jeffrey Nachmanoff.

Traitor is both interesting and topical.

Those expecting a slam-bang action film will be very disappointed because this is a psychological thriller that takes us inside the minds of terrorists, their motivations, their plans, their ruthlessness for their ideology and their hatred for their enemies.

A prologue in the Sudan 1978 sets up the dynamics of terror, hostility and vengeance. A young boy, Samir, sees his father killed in an explosion. The scene moves to the present in Yemen where Samir (now Don Cheadle in an intense and earnest performace) is selling Semtek to an internationally organised terror organisation. He is treated with suspicion and caught and imprisoned with Omar (Said Taghmaoui) when they flee from a police raid. An escape is arranged and Said becomes involved in several terrorist attempts, especially on the American consulate in Nice. He is identified by the FBI and becomes a marked man.

Two FBI agents (Guy Pearce and Neal Mc Donough) visit him in prison and continue to investigate him when they return to Washington.

In the meantime, Samir's travels include a visit to London to visit the European commander of the group and then to Canada where he meets the head of the organisation. These men and Omar are not presented as ranting fanatics. Rather, they are cool and calculating in their plans as well as their beliefs – but are no less deadly than the vocal Jihadists. However, as with the training of and orders for suicide bombers, these heads sit back in comparative comfort as they send their bombers to destruction and their own deaths.

There are shifts of perspective on Samir as the film progresses, especially with a secretive agent played by Jeff Daniels.

Ultimately, there is a cleverly conceived plot to blow up a number of targets on Thanksgiving Day with Samir supplying the explosives to suicide bomber sleepers who have been planted in the US with student visas and other documents.

Whether or how the plan succeeds means that you will have to see the film.

It is an interesting exploration of a man deeply committed to his cause, a religious man, a devout man who is prepared to risk his life for his beliefs.

1.A topical film? Terrorism in the 21st century? The role of the United States? The United States as target? International repercussions? The Muslim world, Muslim culture, Muslim religion? The contrast with American religion – and the Baptists?

2.The international locations, the striking colour photography? The Sudan, Yemen, France, London, the range of cities in the United States, Canada, Halifax? The impact of this variety? The musical score?

3.The prologue in Sudan: the father and son, Samir and his admiration for his father? His father’s writings, teaching his son chess, culture? The explosion? Samir and his reaction, audience assumptions about his attitude and his future conduct?

4.Samir as an adult, in Yemen, with his vehicle, the semtex, SHOULDN’T IT BE SEMTEX)? Trying to meet his contact, Omar blocking him? The appointment, suspicions? His friend, the discussions, the preparation for the bombings? The attack by the police, the deaths, the chase, his arrest, with Omar, in prison? His devout prayer in prison? The treatment, the rival gangs in the prison, his being bashed? Omar standing by him? The escape in the van after the explosions?

5.Samir as religious, his prayer, his knowledge of the text of the Koran, the spirit of the Koran? Information about his life, going to America, serving in Afghanistan and Bosnia, knowing explosives, learning his religious roots?

6.Roy Clayton and Max Archer? FBI, in Yemen, not officially, confronting Samir in the prison, Archer punching him? Clayton’s more peaceful stances? Their return to Washington, beginning the investigation, getting the information, Samir as the target? The explosion in Nice? Their travelling to Europe, the interrogations? The pressure on the captured terrorists? The explosion on the beach in Spain, getting the driver? His giving information? The money launderer in Los Angeles and his identifying Samir? The travel to Chicago, the pursuit of Samir, taking Chandra, the interrogation, Samir going into the apartments, his ambushing Roy, the discussion, not killing him? The discovery of Carter’s dead body? Samir’s escape? Roy receiving Samir’s message, realising the truth, the threat on Thanksgiving, going to Halifax, saving Samir?

7.Roy in himself, his studies, religion, Baptist background, not violent? Studying Arabic and reading it? His contrast with Archer, the old-style tough FBI agent? The end and the discussion with Samir?

8.Samir’s plan, the bombing in Spain, going to Nice, getting work, the security badges, arranging the blast, the report of the deaths, the fake bodies? The television monitors identifying him?

9.Going to the United Kingdom, Fareed and his authority? The meetings? Omar and his presence and support? The circuitous route in buses and underground to meet Carter, the audience learning the truth about his being in deep cover? The effect?

10.His going to Canada, entering the United States? The contrast with Omar and his truck from Mexico? Collecting the money in Los Angeles? Meeting Nathir? His authority, plans? The number of bombs, contacting the sleepers? The sleepers themselves and the variety of places where they were? The plan for the emails? Going to Chicago, meeting Chandra, trying to get her out of the situation? Fareed and his doubts? The spy in the FBI? Discovering that Samir was on the ‘most wanted’ list? At the computer, the sending of the email, taking out the connection, switching the emails? The escape to Canada? Meeting, in the boat to take them to Europe? His going to take the air, the guard, his shooting Nathir and Fareed? Omar and his pleading? Samir shot, the FBI rescuing?

11.The plan, the variety of sleepers, the way of contact, their loyalty as suicide bombers, all going on the same bus, the cutting to them from the boat in Canada, their looking at their watches, setting the bombs? The explosion?

12.The email to Roy, alert for Thanksgiving, going to Halifax?

13.Omar, as a person, from France, in Yemen, part of the group, his suspicions, his friendship with Samir, prison experience, their friendship, travelling together, the email and Samir deceiving him? The end, pulling the gun? Samir explaining that they had been used by Nathir and Fareed?

14.Carter, secret agent, no trace for Samir, the meetings in London, in America, Samir and his reaction to people being killed? Omar killing Carter?

15.The topical nature of the themes, ideologies, confrontations, death?

16.Chandra, relationship with Samir, love for him, the meeting in the park, her jogging? Upset, believing that he was a terrorist? Interrogation by the FBI?

17.The reality of terror as seen in people who masterminded the plots, were the officers, were the plants, suicide bombers? The background of clever planning, moving through security? Weapons and ruthlessness?

18.The title – the reference to Samir, to whom was he a traitor?

THE AGE OF STUPID

UK, 2009, 92 minutes, Colour.
Pete Postlethwaite.
Directed by Frannie Armstrong.

This is a documentary about the environment and the seeming indifference of individuals, societies and governments in the face of global warming and disasters like Hurricane Katrina. We are living in the age of stupid. We are the stupid.

Whether that will entice non-believers in climate change to see the film or whether they will be still in their seats when the lights come up... possibly, no, probably, not. This is a film that preaches to the converted, reinforces the beliefs and standpoints of the converted.

The film-makers have tried a device to make it more audience palatable. After a quick image gallop through time from the Big Bang to 2055 when the world and its population have been almost destroyed including a visual overview of evolution, we are introduced to a survivor who has built an enormous electronic archive safeguarding all human achievement. It is a huge tower in the now unfrozen Arctic. He becomes our host as he goes to his screen and shows us footage from our own times that ought to persuade anyone who observes realities that times and climates are changing. He makes pessimistic comments, he makes pointed accusations. At the end, he offers some hope while suggesting that, if we don't make significant moves, 2015 will be the crisis point, the point of no return. Pete Postlethwaite as the archivist is solemn and, not without reason, sepulchral in his utterances and warnings.

With the present footage, he shows an elderly mountain guide in Chamonix who remembers when there was a lot of snow. He takes an English family hiking on the disappearing glacier. This family has become a pioneer of conscientious response to climate change. They, fortunately, have the means and leisure to control their lifestyle. The husband is an advocate of wind turbines and fights a losing battle with the inhabitants of Bedford who don't want their view spoiled but are still in favour of environmentalism (for others, it seems).

Hurricane Katrina features prominently as well as an oil rig engineer who stayed in his home during the crisis, lost everything but ferried a hundred people to safety. He speaks on behalf of the social outreach by the companies. In the meantime, we move in and out of the developing world, meeting a rich Indian who establishes his own cheap flight airline in India in 2005 and is aware of the enormous carbon footprint. On the other hand, and much more disturbing, we move in and out of Nigeria, where a young woman aims to study as a doctor but is trapped in a continually impoverished area where Shell drills – which leads to government financial corruption, neglect of infrastructure for health and education (often allegedly for fear of kidnapping of personnel).

Which means that the lecture on climate change is too didactic to change attitudes despite the facts and the alarming prognostications. It is always, in films, the stories and the emotional response which sets audiences on the path to reflection and change.

1.The significance of the theme? Climate change, global warming? The impact for an audience? The film as a visual lecture (one critic calling it a hectoring lecture, a ‘hecture’)?

2.The visuals of the film? The future, the Arctic and the lack of snow, the pylon with the archive? World achievement? The archivist? Pete Postlethwaite and his sombre presence? His addressing the camera, warnings? His screen, able to move images around? Drawing on the archive of images?

3.The prologue, the credits, the Big Bang, the rapid showing of dates, the millions of years, evolution? Bringing the human development in the context of animal life? The present?

4.The use of footage, disasters, interviews? How well used? Persuasive?

5.The focus on particular stories:

(1) The guide in the alps, his age, his reflecting on snow in the alps, the English family, hiking, the disappearing glacier?

(2) The English family, on holidays, their return home, their having the leisure and means to check their carbon footprint? The father and his involvement in wind turbines? The Bedford situation? The inhabitants and their hostility, the turbines spoiling their view, their still being in favour of the environment? The campaign against him? The arguments? His engineering, discussions with the farmer who was in favour? His losing the case?

(3) The oil rig engineer from New Orleans, staying in his home during Katrina, rescuing his father, rescuing and ferrying a hundred people to safety? The visuals of Katrina and the information? His losing everything? The background of his work, the rig, his emphasis on the social outreach by the companies? His retirement, fishing? His observations about climate change?

(4) The wealthy Indian, the establishing of his airline, for cheap flights? The contrast with the information about flying and carbon emissions? India 2005, a genial man, yet severe and demanding with his staff? The documentation, the political fights? Training the staff, buying the planes? The opening of the airline? The initial flight?

(5) The effect of Shell, the young woman wanting to be a doctor, trapped in poverty, life in the delta, the unfinished buildings, the company’s promises to help? The neglect of the infrastructure? Health and education? Financial corruption? Abductions?

6.The overall impact of such information? The witnesses? The statistics? The critique?

7.The implications of the title, ourselves as stupid, not heeding the warnings? The information about 2015 as the climax point?

8.This kind of film preaching to the converted? The possibilities of its influencing non-believers?

KISAPMATA (IN THE WINK OF AN EYE)

Philippines, 1981, 90 minutes, Colour.
Vic Silayan, Charito Solis, Charo Santos, Jay Llagan.
Directed by Mike De Leon.

This film is based on actual events, recorded in The House on Zapote Street, in a collection of reportage on crime. The setting is the late 70s-early 1980s. However, the subject and the treatment still seem topical.

The major part of the film focuses on a young woman who works at a bank and becomes pregnant and wants to marry the father who works in the bank with her. Her father is a dominant former policeman. Her mother is a seamstress, repressed and quiet. While the father gives his consent and seems genial towards the prospective groom, he has his own secrets, his possessiveness towards his daughter and finds all ways of confining her to the house, even after her marriage. This puts strains on the marriage, the young woman having to come to terms with her father and wanting to escape, the exasperation of the husband and his trying to work out what to do, getting advice from his very sympathetic father.

Towards the end, the realism moves to melodrama and a shocking ending where the father kills his wife, daughter and son-in-law and then turns the gun on himself.

The film was directed by Mike De Leon, a prolific Filipino director. It was written by Clodualdo Del Mundo Jr, a writer for many of the films of Lino Brocka.

1.The impact of the film? For a Philippines audience? For world audiences? Based on actual events?

2.The city setting, the affluence of the father and his family, the home? His car? His daughter working in a bank? The in-laws’ house? Comfortable lives?

3.The atmosphere of realism, the musical score? The dark photography for the interiors? The moods?

4.The situation: Mila and her telling her parents about her wanting to marry, her pregnancy? Her mother’s shock? The reaction of her father? His relationship with her? Dominance? His seeming decision to approve? His meeting with Noel, the discussions, his hobby of developing worms and selling them? The smiles – then the harsh and sinister words? His reaction to his daughter, the meals, Noel’s father coming to the meal, the discussions, the issue of dowry, of support?

5.The wedding, the joy of the ceremony, the religious commitment, the dance at the reception? Mila’s mother taking ill, the father sending her home, wanting his daughter to look after her? Forcing Noel to come to their house on the wedding night? Saying that he had ruined the honeymoon? His offhand and cutting remarks?

6.The character of the father, former policeman, talking about his cases? His retirement? The relationship with his daughter? Dominating his wife? At home, his reactions to Mila, forcing her to stay in the house? Proposing that the couple stay for some days, getting the mother to ask? The plan that they stay at the house always?

7.Mila, meek, moody, sick? Not answering the door, not answering the phone to Noel, leaving him on the street? Their discussions? Noel trying to fathom what was happening? His decision to move away, getting the advice of his father?

8.Mila, her diary, her despising of her father? Wanting to escape? Getting her mother’s help, the mother deciding to support her? Her leaving, in the bus, the phone call to Noel? Travelling away?

9.The father going to Noel’s father, admitting that he was wrong? Persuading them to come back? Their return?

10.At home, the confrontation? The possibility of a future? The father and his gun, shooting his wife, shooting Noel, shooting his daughter, turning the gun on himself?

11.The story seen in the patriarchal Philippines situation? The role of the men, suppressing the women? The inherent violence?

THE OUTCAST

US, 1954, 90 minutes, Colour.
John Derek, Joan Evans, Jim Davis, Catherine Mc Leod, Slim Pickens, Bob Steele.
Directed by William Witney.

The Outcast is a Republic western of the 1950s, the studio with small-budget films made in Trucolor. They are very similar in style to the many westerns from Universal Studios at this period with stars like Audie Murphy, Jeff Chandler, as well as the many Randolph Scott westerns of the period.

John Derek plays the nephew of a major who has taken his father’s property with a false will. He comes back to claim the property, hiring a number of ruthless gunmen. Jim Davis portrays the major who has his own squad. However, he wants respectability and is engaged to a Virginia lady, Catherine Mc Leod. Joan Evans is the daughter of a local landowner. Slim Pickens appears as one of her brothers as does Nicolas Coster.

The film is routine in its plot – but is done with some verve by William Witney, director of many serials in the 1940s and B-budget films up to the 1970s.

1.Entertaining western of the period? In retrospect?

2.The western settings, the town, the land, the cattle, the cattle drives? The musical score?

3.Jet Cosgrave as the outcast? His relationship with his father, his father’s reputation, his death? His uncle’s reputation as a major? The false will? His hold over the lawyer? His taking the property? Jet returning to reclaim it? Hiring Dude Rankin and the other gunfighters? Rankin and his killing the cook, shooting him in the back? Jet and his trying to impose his will? The cattle, the money? The confrontations with his uncle? His meeting Judy, the attraction, the kiss – and she thinking that he had promised her marriage? Jet and his motivation, the discussions with Alice, her contempt? Trying to tell her the truth about his uncle? The Polsen family? The hostility? Mrs Banner and her help at the hotel?

4.Major Linton Cosgrave, his wealth, the false will, his power? Influence in the town? The Polsens’ dislike of him? The confrontation with Jet? With Cal Prince, buying off Rankin and the other gunfighters? The stealing of the cattle? The false image for Alice? The pursuit of Jet, in her room, the truth? The build-up to the shootout? His killing the lawyer? His death?

5.Alice, the lady from Virginia, arrival, in the hotel, with Mrs Banner, her belief in the major, not believing Jet? Friendship with Judy, helping her? Observing the relationship? Her shielding Jet? His infatuation with her – and the false motivation? Telling the truth to Linton, leaving town?

6.Judy, the Polsen family, tough? Cattle property, antagonism towards the Cosgraves? Her discussions with Jet, the kiss, in love, her father whipping her? Leaving home, Mrs Banner employing her in the hotel? Shielding Jet? Hearing the truth, her disappointment? Her brother’s death? The funeral, farewell to Alice? The happy ending?

7.Dude Rankin, the gunfighters, Cal Prince? No scruples? Able to be bought off? The cattle drive, the shootouts? Curly and his remaining loyal to Jet?

8.The Polsen family, the father as a patriarch, the brothers? The cattle? Antagonisms, the death? The funeral? Teaming with Jet?

9.Jet, ambiguous character, leading Judy on? With Alice? His motivation? Joining with the Cosgraves, the cattle, the shootouts, the fight on horseback? The confrontation with his uncle?

10.The happy ending, the resolution of the vengeance issues?

I DON’T WANT TO BE BORN (MONSTER/ THE DEVIL INSIDE HER)

UK, 1975, 95 minutes, Colour.
Joan Collins, Eileen Atkins, Ralph Bates, Donald Pleasence, Caroline Munro, John Steiner, George Claydon.
Directed by Peter Sasdy.

In the aftermath of Rosemary’s Baby and The Exorcist, there were a number of imitation films coming from Italy (House of Exorcism…). However, here is an English version, released the same year as The Omen.

The film was critically lambasted and has more than a touch of the ludicrous. Joan Collins, looking very glamorous, is a former stripper, married to an Italian, who has a difficult birth, a rather large child that she fears is cursed by a malevolent dwarf who worked with her at the strip club or is possibly the son of the manager of the club. Ralph Bates is her Italian husband. Even more unusual is Eileen Atkins as Bates’s sister, an Italian nun with a distinct pronunciation. However, she is the one who brings the drama to a close, actually praying an exorcism. Donald Pleasence is the doctor, John Steiner the manager of the club, Caroline Munro a friend who is a stripper, George Claydon the dwarf.

The film has overtones of Devil possession but is played for drama at first (not particularly convincing) and then for touches of horror, especially in nightmare sequences. The baby is aggressive, does seem to be possessed of something or other, is responsible for quite a number of deaths as well as attacks.

The film was directed by Peter Sasdy, a television director who made a number of horror films in the 70s including Taste the Blood of Dracula, Countess Dracula, Nothing but the Night.

1.The influence of Rosemary’s Baby and The Exorcist? The B-budget imitations? This film in that tradition?

2.The title, the reference to the baby? The alternate title, Monster?

3.The authentic London settings, the scenes of the streets, buildings, realism? The club? The parks? The homes? The contrast with the suggestions of horror – and the style of the nightmare sequences? The atmospheric score (by Ron Grainer)?

4.The opening, the difficult birth, Lucy, Gino? Doctor Finch and his assisting? The nurse? Their reassuring Gino? Yet the scratch on the nurse, the suggestion of some violence?

5.Lucy and Gino, their marriage? Lucy and the flashbacks to her beginning, working in the club, dancing, stripping? Her relationship with Hercules, her memory of his advances, resisting them, his cursing her and her child? Her relationship with Tommy, especially at the party before the wedding? The confidences to Mandy?

6.Sister Albana, her arrival, her relationship with her brother? Friendship with Lucy? Helping with the baby?

7.The baby, the attacks, Lucy and her imagination? The babysitter and her face in the water? The nurse and her being pushed into the river? Mrs Hyde, the mouse, the horror?

8.Doctor Finch, the explanations, looking after Lucy? His being in the house, his death?

9.Gino, love for Lucy, his disappearance?

10.Lucy, trying to cope, going to see Tommy? Avoiding Hercules? Discussions with Mandy? Mrs Hyde? Her fears for the baby? Her nightmares and their violence?

11.Sister Albana, her religious background, the attempt at the baptism but the baby crying? Her looking after the baby? Her getting the book of prayer, the cross, praying the exorcism rite? Success?

12.Satisfying ingredients – or too ludicrous to be taken seriously?

BUYING THE COW

US, 2001, 90 minutes, Colour.
Jerry O’ Connell, Ryan Reynolds, Ron Livingston.
Directed by Walt Becker.

Buying the Cow had very little release. Its stars became more prominent from television and film after this. Jerry O’ Connell had been a child star since Stand By Me but made an impact on television. Ryan Reynolds was to become a prominent comic star and then a more serious actor in the ensuing years. The film was directed by Walt Becker who achieved some fame with the road comedy, Old Dogs, with John Travolta.

The film is a sex comedy, American style. However, it is a touch more explicit than might be expected, some crass statements, exhibitionist behaviour by Ryan Reynolds, tackling a theme of homophobia while exhibiting some aspects of homophobia itself. Needless to say, ultimately, the central characters come to their senses and have to grow up. While there are some women who also exhibit the same immaturity, it is the women who emerge as much more responsible in this film than the men.

1.The title, the initial discussion about cows, milk? The analogy? The humour – with the touch of the crass?

2.Los Angeles and New York? The twentysomethings’ world? Work, homes, clubs? The milieu in which they lived and worked?

3.Issues of responsibility and maturity? The immature men? Their memories of being school friends, their college days, their behaviour? The issues of sexuality and relationships?

4.The focus on the men? The serious man in New York, his relationship with Julia, planning to get married, work? A better perspective than the other men? David as the focus, his searching for relationships, the flashbacks to his memory of meeting the girl of his dreams at the airport? The parody of these sequences later? His relationship with Sarah, awkward, putting his foot in it, her going to New York, the phone calls, his concern? His friendship with Michael? Michael and his wayward behaviour? Jonesy? Going to clubs, the computer dating, the various women, his turning up at the bar, denying the women, Nicole arriving and exposing him, their attack on him? Seeing the girl of his dreams and not knowing who she was? The break-up with Sarah, his wanting to go to New York, to see Julia? Meeting her with her fiancé, the discussions, her story of the airport, her loathing of the stranger, her younger sister being mischievous, writing in her name? David and his humiliation? The break-up with Sarah, going to wedding? Meeting Katie – his chasing the car, falling, the crash? The girl of his dreams? Michael, first seeing him in his apartment, exhibitionist? His manner with women? With his friends? Crass talking? His going with the girl, the phone call to David, discovering the gay man, his being trapped in the bathroom, swinging from the sheets? The little boy, his father thinking that Michael was a pervert, chasing him? His looking at the gay video? His going to the gay bar, inviting his friends, the comic aspects of homophobia? His declaration at the wedding? The women and their talking sensibly to him, telling him to grow up? Jonesy, friend, along with the rest of the group?

5.The women and their way of dealing with the men? Sarah, the relationship, her career, going to New York, her skill at her work, the designs, the boss? David’s calls? Going out to dinner? The return to Los Angeles to sort herself out, David and his going to New York? Her going back to her work, the boss? Julia, nice, engaged to her fiancé, the discussions with David, telling him the story? The wedding? Her urging Katie to meet David? Katie, the girl of David’s dreams, the finale? Nicole, her knowing the truth about David, discussions, exposing him in the bar?

6.The relationship issues, love and commitment issues? The comic touches, the serious undertones – how well did the film combine them?

DANGEROUS BEAUTY

UK, 1998, 114 minutes, Colour.
Catherine Mc Cormack, Rufus Sewell, Jacqueline Bisset, Oliver Platt, Daniel Lapaine, Moira Kelly, Jeroen Krabbe, Joanna Cassidy, Naomi Watts, Fred Ward, Jake Weber.
Directed by Marshall Herskovitz.

A Dangerous Beauty (The Honest Courtesan) is a film about 16th century Venice. It is based on historical research by Margaret Rosenthal and the film is directed by Marshall Herskovitz, a producer-writer (episodes of Thirtysomething and The Last Samurai).

The film is a star vehicle for British Catherine Mc Cormack as an independent young woman in Venice, dominated by her family (especially her mother, played by Jacqueline Bisset). However, in wanting true love rather than an arranged marriage, she agrees to live as a courtesan, admired by the men of Venice. She is also in love with a young man, played by Rufus Sewell. While they have a relationship, she has her reputation as a cultured courtesan to maintain. She is the object of jealousy by the young man’s cousin, played by Oliver Platt. She is accused of being a witch – but is cleverly released from the charge, especially because of her contacts with so many of the men in the court who finally support her.

The film looks sumptuous, with costumes and décor of the period. There is a good supporting cast in very small roles including Naomi Watts, Moira Kelly and Jeroan Krabbe.

The film raises issues of morality, hypocrisy – and also issues about the nature of the church and its authority, the Inquisition, issues of witchcraft.

The film is not as strong as it could be, in terms of exploration of themes. However, with the performances and the look of the film, there is enough to reflect on on its historical and moral issues.

1.The title? The alternate title: The Honest Courtesan? The focus on the character of Veronica? Her status and profession in 16th century Venice?

2.Italian history, Venice in the 16th century, the re-creation of the period, the city, its splendour, canals, life on the canals, the palazzi? Interiors, homes, salons, gardens? Costumes? Sumptuous? The insertion of suggested action sequences, the battles against the Turks? The Inquisition? The musical score and the style of the period?

3.The film based on actual characters and events? A romantic perspective?

4.The opening, Venice, the information about the status of courtesans, as educated women, sexuality, their social status? Exploitation? The structures of society, expectations? Hypocrisies?

5.Veronica and her family, poverty, her relationship with her mother, sister, brother needing a commission? Her watching the courtesans? Watching Marco? In love with him? The impossibility of marriage?

6.Marco, rich, his family background, his society parents, their expectations, his engagement to Giulia? Unwilling but agreeing? His love for Veronica? A man about town with his cousin, Maffio?

7.The authorities of Venice, the role of the Doge, his presence in the salons, in the courts? Maffio’s uncle, his leadership? The ministers of state? The moral perspective? Corrupt or not? The threats of war? Malta, the Turks’ attack? The sea and Venetian trade? The arrival of the king of France, the alliance with him, his ships and the victory?

8.Veronica and her mother, her mother explaining her life to her, her persuading her to become a courtesan, the detail of the training, manner and bearing, etiquette, the library and the books, educated, her encounter with men? Poise? Veronica’s reaction, agreeing? Her being presented in society? The minister and his choice of her? The card game? Seeing Marco? The night with the minister?

9.The possibilities for her life, old maid, convent? Courtesan supporting her poor family? The effect on her?

10.In the salons, her skill at poetry, her competitiveness with Maffio, the response of the audience? Maffio’s jealousy, the swordfighting with Veronica? His humiliation? His being converted to religious extremism? Arresting Veronica, prosecuting her at the Inquisition? His humiliation and defeat?

11.Veronica and her life, her relationship with Marco, Marco and his wife, her silence, being proper?

12.Veronica’s sister, her marriage and the ceremony, an arranged marriage? Her child, her sister telling Veronica she wanted her to be a courtesan? Discussion of whether being a courtesan was a prison or not?

13.The menace of the Turks, the arrival of the king of France, young, his reaction to the Venetians, wanting to see the courtesans, charmed by Veronica, with her, their parrying the discussions, his sexual proclivities? His decision to aid the Venetians? The city’s gratitude to Veronica?

14.The battles, plague in Venice, the deaths? The wives wanting news of their husbands, their anger with Veronica, Veronica giving them the news?

15.Marco’s return, Veronica’s arrest, Maffio and his prosecution?

16.The Inquisition, the trial, the hard and harsh inquisitor? Accusations of being a witch? Interpreting her life as a courtesan as witchcraft? The defence of the alleged innocent husbands of Venice? The Doge presiding? Marco urging her to repent and save herself? Her decision, confessing her life in court, the ritual of the confession, Marco and his interventions, his confessing? Her sister calling out in support? Marco inviting the husbands to stand, the minister standing, the others, the accusation to the cardinal? The solution that it be referred to Venice as a civil matter rather than as a religious inquisition matter?

17.The picture of an age, seemingly orderly, marriage as contracts rather than, as her mother said, eternal trysts? The structure of society, its double standards of morality?