COCHOCHI

Mexico, 2007, 87 minutes, Colour.
Antonio Lerma Batista, Evaristo Lerma Batista.
Directed by Israel Cardenas and Laura Amelia Guzman


Cochochi is a Mexican film, from a young Mexican director working with a young director from the Dominican Republic. They filmed in the language of the Mexican Indians of the area where the story is told.

The film is rich in detail of life in this part of remote Mexico. The film is one of feeling and sentiment, focusing on two young brothers, one who is interested in action and adventure, a love of horses. The other is more scholarly and is hoping for a scholarship. The film shows them on a trek, trying to recover a horse which was swindled from them. The adventure is at times life-threatening, hard for the young boys to be away from home and make their way through the countryside.

A film of great feeling and insight into Mexican Indian life. A Signis award winner in Buenos Aires 2008.

1. The regional film making, the local language, actors, amateurs, picturing the customs and way of life?

2. The focus on children, their perspectives, in education, at home, challenges of responsibility?

3. The Chiwawa Mountains, the villages, school, farms, the canyons and waterfalls, the fiestas? The musical score, the local songs?

4. Audiences identifying with the children, a film for children, for adults?

5. The introduction to Evaristo and Tony, playing games at school, fighting, their different attitudes towards schooling? The graduation, Evaristo’s success, Tony getting a scholarship, his not going to the ceremony, watching with his friend Nacho? The differences between the brothers, age, personalities, study, relationship?

6. The importance of regional radio, the transmitting of messages?

7. The mission to their relative, taking the medicine, talking with their grandfather, wanting to take the horse, his caution, their riding together, through the scenery, getting lost, unable to cross the river, the meeting with Lewis, the tying-up of the horse (and Evaristo worrying about the potential for the horse to be strangled)? Upset at the horse being gone, thinking that Lewis had stolen it, their walking, getting lost, thinking what their grandfather would say, trying to think of stories to tell him?

8. Evaristo and the meeting with the young man, going to the school in the rain, taking the bus, his talk on the radio, their discussions, Evaristo’s message, meeting with Tony?

9. Tony and his meeting with the girl, the fiesta, the bets, accusing Lewis, the discussions, hearing the message from Evaristo, the going together to the school, getting wet?

10. The grandfather, the return home, the horse having made its way home? Responsibilities and truth?

11. The final scenes at school, Tony going with the horses, Evaristo taking Tony’s place with the scholarship, his smile and delight for learning?

WONDERFUL TOWN

Thailand, 2007, 92 minutes, Colour.
Directed by Aditya Assarat

Wonderful Town seems to be like a romantic Thai movie, a focus on two people in a town hit by the tsunami of 2004. The town has become rather deserted with developments being made on the devastated waterfront. A young woman runs a hotel in the town. An architect comes to stay with her, wanting quiet. They fall in love.

However, there is a brutal ending which seems unnecessarily cruel, given the style of the film up to this point.

1. A Thai romance, drama? Its ultimate effect?

2. The town and the after effect of the tsunami, the destruction, the rebuilding, the coast, the lack of tourists, small number of visitors, quiet, depressed, survival?

3. The romantic tone of the film, yet the minimalistic dialogue, naturalism in the photography, the sense of realism?

4. The impact of the ending, shock, not a resolution of the relationship, violence and death, cruelty?

5. The title, Ton and his reference to the wonderful town? It’s suiting him? Na and her life there, the hotel, her work? Their responding to each other?

6. Ton and his arrival, the meeting with Na, his work, rebuilding, going on to the building site, the workers? A quiet social life? Going out with Na, her reserve? His going back to the city, returning to the town? Na’s nephew and looking after him? The staff at the hotel? Na’s brother, their driving and the motorcycle gang? The possibilities, the love, the future? Ton’s story of his father, drinking, music, changing his career, not communicating with the father? Composing a song for Na? The phone call to his father – everything ready for a future? His being bashed, put into the river, his death?

7. Na, her quiet life, looking after the boy, wanting her brother to come back, work, the attraction to Ton, cleaning, the washing, hanging out the washing on the line, the weather, the rains? Her listening to Ton, going out with him, talk, his return, the sexual encounter, the hope, her final disappointment?

8. The boy, the glimpse, going to school, with the gang?

9. Na’s brother, his being a gangster, idle, away from home, the plea of his sister, talking to Ton, the group, the final bashing and killing of Ton, floating him in the river?

10. The delicacy and romanticism of most of the film – and the regretful feelings at its ending?

NIGHT TRAIN

China, 2007, 94 minutes, Colour.
Directed by Diao Yaan

Night Train is a rather glum and sombre film about a widow who works for the state – works for the court and is the executioner of criminals. Self-contained, living quietly in an apartment, she still feels lonely and goes to a dating agency and turns up at dances for singles. She encounters a man from the Agency and exposes him. She is approached by another man who attempts to assault her. In the meantime, she is followed by the husband of the woman she had executed. He intends to kill her, but changes his mind – or, does he?

The film is made in an industrial Chinese town, ugly to look at, photographed in muted colours. The performance of the central character is a mixture of the self-contained and wanting to let loose. It is an interesting character study and has many social observations – especially about callousness in public executions.

1. Chinese story, mood, atmosphere, focus on private individuals, social concerns?

2. The city and the factories, the dam, the bridge, the train, roads, the court, the prison, the dance hall? Ordinary and drab?

3. The title, the night train, the woman’s travel, the stops?

4. The rides, the woman on the bridge – the opening and the whole film being a flash-back?

5. The dance hall, the set up, the large number of men and women, sitting it out, the woman smoking, the man approaching her, talk, magic tricks, going home, his advances, her reaction? Later meeting her and his apology?

6. The court, the trial, the accused, manslaughter, the condemnation, her child, her brother and the ashes, the father of the child, the collapse, going to execution, the rehearsal, the woman killing her?

7. The woman and her work, at home, the room, the gossiping woman, wanting to object to the sex worker, the woman being self-contained, yet listening to the sex worker’s room, her loneliness, going to the club to see her dance?

8. The Agency, her photos, going out with the man, challenging about his role at the Agency?

9. The flashback to the set up for the death of the client, the manslaughter?

10. The father of the child, rejected by the family, following the woman, his knife, her alluding him, confronting him, going into the dam, the sexual encounter, the tour, her seeing the knife, his dragging the boat, the case, her return to the room?

11. The possibility of love and forgiveness – a new life or not?

GONE BABY GONE

US, 2007, 114 minutes, Colour.
Casey Affleck, Michelle Moynihan, Morgan Freeman, Ed Harris, John Ashton, Amy Ryan, Amy Madigan, Titus Wellover
Directed by Ben Affleck

Sounds like a pot-boiling title and, at moments, the film is a pulp fiction. But, it is more.

The name of crime-writer Dennis Lehane became well-known with Clint Eastwood’s film version of his Mystic River. Set in a gritty Boston, that film explored crime but it also delved into and probed the characters and the consequences of their behaviour. Gone Baby Gone does the same. While Brian Heligoland (LA Confidential) wrote Mystic River, the writers of Gone Baby Gone are Aaron Stockard and the director of the film, Ben Affleck.

Ben Affleck and Matt Damon won an Oscar for their screenplay of Good Will Hunting. Affleck not only shows adaptation and writing skills here, but this is a solid achievement in directing. He has sometimes been badly reviewed for his performances, a somewhat stolid and wooden presence, although he was acclaimed for his turn as TV Superman’s George Reeves in Hollywoodland. He won the Best Actor award at the 2006 Venice Film Festival. On the basis of Gone Baby Gone, he has a lot more mileage in him as a film-maker.

The star is his brother, Casey, who has been building up a reputation for some years in a range of films including the Ocean’s series, with an Oscar nomination for his performance as the Cowardly Robert Ford in The Assassination of Jesse James.

He makes the central character his own. He plays a young private eye who knows his Boston neighbourhoods and the motley types there, doing local investigations with his partner, Michelle Williams. When a baby is abducted and disappears, it is not the grieving but good-time girl mother (Amy Adams, Oscar nominated) but her relentless sister-in-law (Amy Madigan) who is dissatisfied with police efforts and media coverage and seeks out the local detectives.

The case is not only a complex one, there are several quite unexpected twists and turns, lies and cover-ups which the diligent young man follows up. The results finally challenge his integrity concerning justice and vengeance but, more, his integrity as a man of principle who can take a stand despite pressure and the opinions of those he loves.

With the police cast led by Morgan Freeman, Ed Harris (another fine performance) and John Ashton, this is an excellent example of the US crime genre.

1. The work of Dennis Lehane, novels, crime, the Boston settings? Massachusetts society? Police work?

2. The Boston settings, the language, the neighbourhoods, the poor areas, tough, race issues, drugs, the police? The over-view of Boston? The musical score?

3. The title, the tone, its use in the film?

4. The structure, the voice-over, the abduction and the investigation, the family tragedy, the next case, Remy and his lies, the next step, suspicions, the truth, the real truth? Patrick and his principles, no matter what?

5. The abduction, the deal, the role of the media, Helene and her dramatics on the television, Bayer and her forcefulness? Doyle and his speaking for the police force? Patrick and Angie, private detectives, young, inexperienced? Blair and Lionel going to see them? The hesitation, the reasons, their working as a team, the contact with Doyle, Remy and Nick and the liaison?

6. Patrick, Casey Affleck’s performance, young, inexperienced, earnest, his past? His knowledge of the locals? The interactions with Remy? The information, the issues of the alibi, his getting more information than the police, telling Remy, the reactions (and the later repercussions of this?) The visit, his interrogation of Helene? The truth, the drugs, the money? Helene’s contact with Ray, their finding him dead, the money? Capital Cheese and his role, the drug dealing, wanting the money, the interrogations? Chris? And his being Cheese’s henchman, killing Ray, the guns, the confrontation? The failure to get the money back? Patrick’s reaction, with Angie, bringing Remy in on the situation?

7. The set-up, the meeting, the blanket, the cliff, the shootings, Angie diving into the water, the seeming reality of the baby’s death?

8. The character of Helene, Blair and Lionel, Dotty as their friend? The way they all treated Amanda? Helene and her leaving her child, Blair and her concern, Lionel and his doting on the child?

9. Patrick, his knowledge, the past, skills as a detective, his motivations, the locals and his being tough, school friends, his knowing Cheese, confrontation – and his seeming failure? His work with Angie, sharing, his relationship with her?

10. The photos, finding the couple, suspicions, the second abduction? The media reports? The drugs, the gun, the money, seeing the perpetrator? The return? The house, the couple and their being under suspicion, their prison records? The return to the house, entry, Nick being shot, going to the hospital, his death, the funeral? Reme and his sadness, drinking, talking to Patrick? Patrick going into the house, shooting the man, his reaction, everybody’s congratulations?

11. Doyle, his character, the head of the police, giving media interviews? Morgan Freeman and his integrity? Calling in Patrick, the transcript of the message, the phone call? His resignation when the baby was not recovered? The irony of this in view of later information?

12. Remy, his drinking, lies, planting evidence, Patrick’s reaction?

13. Interviewing Lionel, a revelation of a truth, knowledge of Ray, the gun, the shooting, the money, his ringing Remy?

14. The clues, the flashbacks, Lionel overhearing Helene talking with Ray, the money, his baby sitting, telling Remy, taking Amanda, their hiding her, the set-up? The fake set-up at the cliff, the shooting, the accident – and telling Patrick? And yet this also being a lie?

15. Patrick, his working things out, confronting Doyle, discovering Amanda, the argument with Angie? Doyle and his reasons for taking the baby, wanting to give the baby a new life? Angie and her siding with Doyle? Patrick, his principles, explaining about Amanda’s future, asking about her mother, whether a wealthy life compensated for this?

16. Angie, her reaction, leaving Patrick, the final confrontation between the two as she came to the apartment? Patrick and his sense of loss?

17. Patrick, giving the police the information, Lionel going to jail, Helene and the media and getting her baby back? Her using Patrick for a baby sitter, her resuming her outgoing lifestyle, not seeming to care about the baby? Patrick and his concern?

18. Themes of human nature, good and bad, wrong reasons for behaviour, seemingly sympathetic behaviour? Justice, the law, the police? Police loyalties, Remy and Nick and their loyalty to Doyle? The cover-ups? The role of responsibility, or forfeiting responsibility? A film about principles?

CORDERO DI DIOS (LAMB OF GOD)

Argentina 2008 91 mins colour
Mercedes Meran, Jorge Maralle, Malena Solda
Directed by Lucia Cedron

A country that has needed truth and reconciliation is Argentina. After the dictatorship of the 1970s and 1980s, followed by the Malvinas/Falklands conflict, the oppression and the disappearances, the country has continued to come to terms with this past with its violence and betrayals. This has been a central feature of Argentinian cinema for almost twenty years.

Lamb of God is an evocative title for someone who sacrifices their life for another in the manner of Jesus.

Cordero di Dios moves from 1978 to 2002 and back and forth. In 1978, a couple work for the underground movements and the husband is killed, the woman blaming her father for his betrayal. In 2002, her father is kidnapped and her daughter has to pay the ransom. The mother returns from exile in Paris (and intends to come back home to testify in hearings against the 70s authorities). She is hostile to her father and unwilling to ransom him. She undergoes a profound experience of realisation that vengeance harms only herself and her daughter and that she must forgive unconditionally. The audience knows at the end the father’s motives for betraying his son-in-law. They are nobler than we had expected but are even more tragic because of this.

1. An Argentinian story? The impact for Argentinians, remembering the 1970s and its consequences? Universal message about oppression and betrayal?

2. The Argentinian experience, the dictatorship, the generals, the oppression, the betrayals, the secrecy, the disappearances, crime and justice, the forgiveness?

3. The title, the image of the lamb in the film, the toy lamb given by the grandfather to his grand daughter? Evoking the sacrifice of Jesus Christ?

4. Buenos Aires, the countryside, the 1970s and the generals, the winning of the world cup? The vet, the race horses? Families, poorer, richer? 2002 and the changes, modern Argentina, the school?

5. The structure, the inter-cutting of the two periods and the effect, the clues about what had really happened, the revelation of the motivation of the father at the end?

6. 1978; Anna and Paco, their happy marriage, their love for their daughter, their visiting her father, his wealth? The children playing? Callitos and Anna’s best friend? The visits to the grandfather, wanting to ride the horse, the little girl and the party, the gifts? The danger for the parents, clandestine activity, revolution, deaths? Anna and her going to the dying man, her medical skills, staying, the rest, naked in the cell, her escape? At the cemetery? The sadness of her husband’s death? The effect on the little girl? The daughter wanting her father to remain in the cemetery rather than go to Heaven?

7. Clandestine activities at the time, Anna and Paco, the group, the shootings, the knocks on the door, going to help, Paco’s death and the elite squads? Anna, remaining, going to her friend, confronting her father, blaming him for what had happened? Her going to France, leaving her daughter behind, her bitterness?

8. Paco, his friends, love for his wife, his daughter, the scenes in the car with his daughter, going into action, his death?

9. The grandfather as a vet, the owner of the horses, their discussions, his love for his grand daughter, his relationship with Anna? Informing the race horse owner about Paco and his location? The final revelation of his motivation, to save his daughter? The opening of the film and his being kidnapped? His being held, no reason given? The scene of his possible execution, the flash back, the explanation of his betrayal, his wanting pardon from his daughter, wanting to save her? Tragic all because of this personal and family motivation?

10. The daughter, adult, getting the news, her mother’s arriving from Paris, meeting her at the airport, the hostility, not wanting her to smoke? Her reaction to her mother, seeing her mother as cold? The mother and her age, return, tense relationship with her daughter? The pathos of the memories of their past relationship? The daughter and her desperation, the phone calls, the abrupt information, trying to find the money, the visit to the general and the clash about ideologies? Anna’s decision to return to testify, the general trying to persuade her not to and give her the money for the ransom? The visits with the lawyer? The issue of the house, the sale, Colitos helping with the packing? The arguments with her daughter about responsibility?

11. The change in Anna, her decision to sell the house, her remembering the past, her vengeance, the change to forgive her father? Going to give the money, the train, finding her father?

12. The daughter’s change, attitude towards her mother?

13. The phone calls, the decision about the money, packing it, throwing it out the train window? The audience on edge with the father’s possible execution? His return?

14. The theme of forgiveness and unconditional love? Reconciliation?

RUN LOLA RUN

Germany, 1998, 81 minutes, Colour.
Franka Potente, Moritz Bleibtreu, Herbert Knaup.
Directed by Tom Tykwer.

Run Lola Run has become something of a cult film. It had immediate praising reviews and was nominated for many awards. The film was original in its presentation of existential questions (including the audience being alerted to these in the voice over), a what-if circumstance and three possible interpretations of events.

The film is also very well paced, each shot is very short, the editing gives the film a sense of urgency, especially as Lola has 20 minutes to run to her boyfriend and bring him money to pay back what he has lost.

Franka Potente was introduced as Lola and went on to an international career (including such films as, Blow and The Bourne Identity as well as the Australian, Romulus, My Father). Mortitz Bleibtreu is a strong figure in German film making but also had international exposure in such films as, The Walker.

Tom Tykwer went on to make, The Princess and the Warrior, and the film, Heaven, with Cate Blanchet, based on a screenplay by Kzrystof Kieslowski..

1. Run Lola Run has a brief running time but is quite striking in its images, its zest, its questions. On the impact of the film? Immediate favourable reviews? Its growing status? A cult film?

2. The work of the director, his career, his actors and the boost this film gave their careers?

3. The title, Lola literarily running, running three times, the physical running, the psychological running?

4. The structure, the introduction, the voice-over and the existential questions, Manny and his losing the money, the need to get the large amount of money, the phone call to Lola? The three possible scenarios, alternates, what if … ? Lola, her running, her love for Manny, the various passers-by, the interludes of Lola and Manny and their love for each other during the three interpretations? The animation sketches of Lola running?

5. Editing, pace, score?

6. The basic plot, Manny, the money he owed, losing the money, the homeless man, the phone call, his desperation, Lola, her response, running out of the house, through the streets, her father, his women, the security guard, the driver coming out of his house, the woman passer-by, the cyclist, the ambulance driver? The thief? The variations?

7. Lola and her age, relationship with Manny, the issue of the money, her response, her desperation, her urgency, her route, the encounters, her father, his anger in the first story, his saying she was not his child, not wanting to leave, his girlfriend and the family? The issue of the money, his work at the bank? The variety of accidents? The third story and her gambling of the money? The third story and her being late, the police and her death? The second story and Manny’s death? The third story, her gambling, Manny recovering the money from the homeless man, it not being needed? Sad endings, happy endings?

8. Manny, his situation, desperation, the plan to rob the supermarket, the story in which he did do the robbery, the story in which he died, the story in which he chased the homeless man?

9. The character of the father, the woman and the discussion about the baby, his anger, his disowning Lola, not wanting her to go home? The story with his anxiety, with the gun, her stealing the money? The story where he went to his client, the car, the crash?

10. The various crashes, deaths, the ambulance?

11. The alternate lives in the photo collages, of a woman passer-by, of the cyclist, his wanting to sell the bike to Lola? The woman and her winning the lottery, the woman and the sadomasochistic sequences?

How well did the film work as a drama, as a parable about life and its meanings, the what-if …? A tour de force of film making?

MADE OF HONOR

US, 2008, 101 minutes, Colour.
Patrick Dempsey, Michelle Moynihan, Kevin Mc Kidd, Kadeem Hardison, Richmond Arquette, Sidney Pollack, Kathleen Quinlan.
Directed by Paul Wieland;

Lots of weddings on screen from the US these days. This is another, quite congenial and, ultimately, strongly in favour of marriage and life-long love and commitment. It would make quite a double feature with 27 Dresses.

However, this is more male-oriented than 27 Dresses, although the central character, Tom (Patrick Dempsey) and his macho basketball playing friends have to learn to recognise and cultivate their feminine side.

In 1998, Tom is at college, the campus Lothario, who is, to say the least, very promiscuous. His moral sense in terms of exploiting women is nil. However, he has rules (such as they are) about his casual relationships and has a more important rule of always telling the truth.

When he encounters a decent woman (mistaking her for her callow roommate), a genial and attractive Michelle Monaghan, he learns a bit of truth about himself. It doesn’t change him but he gains a good friend. Hannah even goes to his serial marrying-and-divorcing father’s sixth wedding – Sidney Pollack enjoying himself and even getting a rueful and regretful speech for his son. Tom and Hannah work together, talk together but neither of them thinks of marriage to the other.

When Hannah has to go to Scotland for work and falls in love with a Scottish duke, Colin (Kevin Mc Kidd), and brings him back to New York, Tom has just realised that he loves her and wants to propose. Instead, she invites him to be her Maid of Honour at the wedding – and to fulfil all the duties of preparing the bridal shower (his friends do help him), going shopping, meeting the minister and collaborating with the bridesmaids. He also tries to outshine his rival who, it seems, has no skeletons in his closet, is charming and learns to slam dunk baskets (which Tom and co cannot do).

The scene shifts to Scotland and the scenery will have many in the audience making mental notes that they should visit the highlands. Tom takes a chance at beating Colin at the elaborate highland games – and almost does. But, he doesn’t.

The question in the audience’s mind is how is he going to persuade Hannah not to go through with the wedding and marry him instead. You will just have to see Made of Honour to find out.

The very light touch, the charm of Patrick Dempsey, the attractiveness of Michelle Monaghan and the New York settings and Scottish locations all help considerably.

1. A popular romantic comedy, 21st century style?

2. The city of New York, its atmosphere, its streets, shops, restaurants, galleries? Authentic feel? The musical score?

3. The contrast with Scotland, the islands, the lochs, castle, the ferry, the highland games, authentic Scotland with a touch of romance? The Robert Burns poems and songs?

4. The title, Tom and his sense of honour, being asked to be Maid of Honour?

5. The introduction to Tom, the Cornell university, promiscuous, the masks, the references to Monica Lewinski and Hillary Clinton, meeting Hannah, bursting into the room, the mistake, the sick room mate? The interchange between Hannah and Tom, the truth being told?

6. Ten years passing, their being best friends? Their work, Hannah being a confidante, going to Tom’s father’s frequent weddings? His life, his relationships with women, still promiscuous, his rules, his friends and their basketball games, their adolescent male talk, sex and commitment – and their not understanding it?

7. Men’s talk, the games? Tom and his realising what had happened in his relationship with Hannah, telling them of his intentions?

8. Hannah going to Scotland, the mobile phone calls, the middle of the night, her return, the image of her driving through the cattle, Colin coming to rescue her on horseback? Colin coming to New York, the romance? The declaration, Tom’s shock, his being Maid of Honour?

9. The men and their reaction, talk, helping with preparing the gifts for the wedding shower, playing basketball with Colin to humiliate him, and his being able to slamdunk when they couldn’t? The investigation and not finding anything against Colin?

10. Tom and the bridesmaids, his meeting them, the cousin and her despising Tom from later experience (and her later advance)? The fat girl, the cousin? The fat girl and the diet, splitting her dress, the pins at the wedding? Talk, helping Hannah, the shower and the woman with the sex accessories and his being tricked by Stephanie? Hannah’s grandmother and the sex effect necklace?

11. Colin, a nice Scot, charming to Hannah, the slam dunks at basketball, returning to Scotland, welcoming the boar, hunting and killing the food for the banquet, singing Burns’ songs, his efforts in the games and winning?

12. Hannah, the preparation for the marriage, going with Tom to see the minister, the discussions with her mother, grandmother, the travel with the friends to Scotland?

13. Scotland, Colin’s parents, his outspoken aunt, the lifestyle, wealth, the meal, the games?

14. Tom, his participation in the games, losing? His realising of the truth, being too late, Stephanie going to his room, his going to talk with Hannah, Hannah saying she needed someone she could trust?

15. The wedding, the setup, her hair, the dress?

16. Tom, his decision to leave, his change of heart, getting the horse, riding to the castle, landing on the floor of the aisle in the church?

17. Hannah, her reaction, kissing him, Colin is a good sport yet punching Tom, the urging of his aunt? Hannah’s mother and her satisfaction?

18. The New York wedding, the celebration? The happy ending?

19. The popularity of this kind of romantic comedy – and the tradition of marriage for life and commitment?

LEATHERHEADS

US, 2008, 114 minutes, Colour.
George Clooney, Rene Zellwegger, John Kaminski, Jonathan Pryce, Jack Thompson, Steven Root, Wayne Duval.
Directed by George Clooney.

This is a light mixture of sports story and screwball romantic comedy. The setting is 1925. The sport is professional American football. The romance is one of those sparring-then-falling-in-love situations between George Clooney and Renee Zellwegger.

Leatherheads may be more popular at home in the US, because, unless an audience is up on the history and the techniques and plays of football, it won’t have quite the same impact. There is some interest in seeing something of the transition from amateur college teams to raggedy, then more streamlined money-making clubs (and the end of free-for-all and the introduction of inspectors and rules).

George Clooney is an ageing player who loves the game and sees that a college champion who was a hero in World War I could be such an advantage for his Duluth team that it would lead to a huge fan following. He persuades entrepreneur, Jonathan Pryce, to invest and the young man, John Krazynski, to give up his studies and play the game. In the meantime, ambitious journalist, Renee Zellwegger, is given the commission by her editor, Jack Thompson, to write an article exposing the war hero as a fraud.

Predictable in its way, it is nevertheless a pleasant off-kilter romance, with some sharp lines and audiences feeling sorry for the young player and his crisis and some background to the development of football. (Leatherheads from the leather helmet protection they wore in those days.)

1. Audience response to American football films? Response to romantic comedies? To screwball comedies 21st century style?

2. A George Clooney film, performance, direction?

3. The audience and knowledge of American football, its history, the fans, the organisation in the 1920’s, skills and tactics?

4. The title, the reference to the helmet? Duluth and its team, the initial play, rough, the amateur teams, going into bankruptcy? The team members and their various jobs, the manager, the temptation to give up?

5. Carter, his college career, skill at football, the games, the fans, his war reputation as a hero?

6. Lexy, discussions with Harvey, editing the paper, the soldier and his interview about Carter, the information, Harvey wanting an expose, the promises of a new desk for Lexy, the deadline, her agreement? The meeting with Dodge? In the hotel, Dodge reading the magazine, the repartee between them? The interest? Both waiting to see Frazier?

7. Dodge and his idea, the professional football teams, the proposal to CC, dressing up, going to the hotel, eavesdropping, the banter with Lexy, the discussions with CC, the meal, the implications of the deal? The percentages?

8. The interview with Carter, CC and his terms, games, joining the Duluth team, giving up his studies, the players coming back, leaving their jobs? The play, the tactics, the commentators, the language in the box? The fans, even turning up to watch practice? The newspapers?

9. Lexy and travelling with the team, discussions, the banter with Dodge? The discussions with Carter, his infatuation, drinking, telling her the truth? Her dilemma about publishing the article? Dodge overhearing her phone call to Harvey?

10. CC Frazier and his style, tough, money making, the truth, paying off the soldier, protecting Carter and his investment?

11. New official, the appointment, the rules, control, the meeting with the interested parties and his laying down the law?

12. Lexy and her dilemma, her publishing the story, the fans reactions, the legal reactions?

13. The press conference, the intervention of the official?

14. Dodge, his friends, their giving testimony and supporting Carter, Carter and the vindication, the verdict on Harvey and the paper giving and apology? Lexy’s reaction? Dodge and his manipulating of the situation?

15. The final game. Duluth vs Chigaco, Carter and his being seconded by Chicago, the spirit of the Duluth group, Dodge and the final quarter, the mud, the commentators, his decision to cheat, reversal of the decision about who won? The consequences?

16. Lexy and Dodge, the romance? Carter and his decision to tell the truth and face the consequences?

17. The origins of professional football? A piece of Americana?

21

US, 2008, 123 minutes, Colour.
Jim Sturges, Kevin Spacey, Kate Bosworth, Laurence Fishburne, Jack Mc Gee.
Directed by Robert Luketic

21 (for those who are not gambling-informed, 21 is not the age for adulthood but the total for cards to win at blackjack). This is a film about blackjack, about systems and gambling, about ambition and greed and about lives coming undone.

Jim Sturgess (Across the Universe, The Other Boleyn Girl) plays Ben Campbell, an intelligent student who needs a scholarship to go to Harvard medical school. He is diligent, has some good, if nerdy, friends who are caught up in robotics for a science competition. The head of the scholarship board thinks that Ben is competent but asks to be dazzled by his life and initiative. Ben tells this story of 21.

Handpicked by smarmy maths lecturer, Mickey Rosa (Kevin Spacey doing his thing) to join an elite group who are working on counting card techniques to win at blackjack in Las Vegas, he hesitates and then agrees. Lots of blackjack sequences and lots of winning – and consequent self-indulgent celebration.

However, behind the scenes is a tough security programmer (Laurence Fishburne) who has no scruple about bashing to get information from cheats at the casino tables. It is inevitable that the security man and Ben will finally have to deal with each other. This provides some twists and some possible (temporary?) respite for Ben. His life is complicated by his covering his tracks about visits to Vegas, his attraction towards one of his partners (Kate Bosworth), his ignoring his friends and deceiving his mother. He also falls foul of Professor Rosa which heads us towards a sleight of hand and a climax.

While the film revels in the winning system and the hedonistic rewards of lots of cash, it offers some warnings about gambling and its consequences, especially the unforeseen consequences from outside intervention.

It is well acted and has its suspenseful moments – and another bit of self-indulgence at the end when it seems that gambling and its winnings are an end in themselves for everyone, no matter what.

1. A gambling film? Success, failure, danger, comeuppance?

2. Audience knowledge of Black Jack, of 21, of casinos, of systems of beating the bank?

3. The Boston setting, home, school? The contrast with Las Vegas and its glitz, the casinos, the hotels? Glamour and indulgence?

4. The focus on Ben, the initial interview, the interviewer asking to be dazzled, his telling his story, returning to the interview at the end – and the result?

5. Ben and his friends, ordinary, their robot project, chat, the lectures, Mike Rosa, the questions, the answers, Ben as being very bright, Rosa’s reaction? The possibility of a scholarship? His mother and her help?

6. Rosa, Kevin Spacey’s style, the approach, meeting the group, the attraction to Jill? Her persuading him to join the group? His initial refusal, changing his mind?

7. Rosa and his life, his aims, his past, control, systems, counting the cards, getting the group to practice, the tests, the methods? Going to Las Vegas, seeing them in action? The various signals, the word codes, partners? Their success, the money, celebrating afterwards, self indulgence?

8. The effect on Ben, his wanting to get out after he got the money for his studies? Putting the fee money in the roof? The change, the experience, the success? The secrecy, the lies to his mother, especially about the scholarship? Lying to his friends, their disappointment?

9. The rivalries within the group, the young man and his antagonism, his behaviour, Rosa ousting him? Rosa’s toughness with the group? Ben and the growing relationship with Jill?

10. Call, his partner, tough, rough with people, their security inventions, security at the casino, the ultimatums from the owners? Suspicions, surveillance, watching Ben, the approach, the challenge? Bashing him?

11. Call and Rosa and their history, Ben upset, Ben failing, Rosa and his abandoning the project? His taking Ben’s money? Destroying his room?

12. The lecture, Ben and his answers, the ironies of the interchange between them, persuading Rosa to go again, the disguises, the team deciding to go in again, the execution of the plan?

13. The aftermath, the flashbacks to Call, the discussions with Ben, setting up Rosa, Rosa and his being exposed, his disguise, running and being caught?

14. Call, his demands about the money, taking from Ben? Ben losing the money twice? His later support of Ben?

15. Ben, his dazzling the interviewer with this story?

16. The ending – the silly touch, everybody enjoying the gambling, the friends winning their robot competition and Ben’s support, their joining him in the general hilarity? The tone of the ending after the drama that had gone on before?

IN BRUGES

UK, 2008, 126 minutes, Colour.
Colin Farrell, Brendan Gleeson, Ralph Fiennes, Zeljko Ivanek, Clemence Posey, Jeremy Rennier.
Directed by Martin Mc Donagh

While being able to say that this is a very entertaining, well-crafted and acted film, it is necessary to warn potential audiences who do not take kindly to screen swearing that this is a film with a great deal of swearing, a great deal. It is in that Irish tradition of expletives introducing any remark as if it were the perfectly natural thing to say (as we found with the language in The Commitments in the early 1990s). The writer-director is the English-born of Irish parents, the award-winning playwright, Martin Mc Donagh, who has a tendency to the boyo-in-your-face kind of drama.

That said, In Bruges is reminiscent of the work of another playwright in the Irish tradition who loves words (as, of course, did James Joyce ad infinitum) for the sound of them, the play with them, the associations and the wit, Samuel Becket. Waiting for Godot might come to mind as we watch two Irish hitman arriving in Bruges to lie low after a particularly difficult hit for the newcomer, Ray (Colin Farrell). The flashback to his killing gives us a shock (and the shock is repeated at the end of the film). Ray’s associate is Ken (Brendan Gleeson), an older, more genial man. However, both of them are loyal to their code of killers for hire.

As they hide out in Bruges, Ken is most appreciative of the beauty of the architecture and art of the city. Ray can’t see this at all and is bored. He tags along and listens to the guided tour kinds of speeches but is much more excited at seeing the locations for a film about a dwarf and the young woman on set, who turns out to be dealing drugs to cast and crew.

The waiting for their boss to ring them for the next hit sets up the suspense. We first hear the boss on the phone, a rough gangster who is unscrupulous but also follows the code (as he does, most surprisingly, at the end). He is Harry, played with some venom by Ralph Fiennes.

There are a great number of funny bits in the film which don’t really add to the plot at all but give us glimpses of the two hitmen and their characters – one, a particularly funny criticism of some obese American tourists who want to climb the church tower, works very well and indicates that lines of so-called political correctness are not to the fore. And this is true of the dwarf sequences where Ray continually refers to him as a midget.

There is also a local arms supplier, the dealer’s thug boyfriend and a friendly pregnant hotelkeeper.

Brendan Gleeson is always good and portrays an Irishman with some heart who got caught up in a deadly profession. Colin Farrell is at his best and completely believable as the boyo killer.

In Bruges is both serious and funny. It is thoughtful, something of a meditation on the meaning of life and some awareness of conscience. Despite Ray’s continually running down the wonders of Bruges and likening hell to staying there forever, the local authorities should be pleased at how beautifully it is photographed (with audiences thinking to themselves that they should visit the town).

1. An entertaining film? Critical response?

2. The playwright, the Irish tradition, in-you-face drama, language, eccentricity, the unexpected, the blend of the humorous and serious?

3. The dialogue, the situations, waiting for Godot, life and meaning, violence, art and beauty, death, redemption?

4. Bruges and its beauty, art, architecture, culture? And Ray’s comments?

5. The visual impact of the film, its beauty, the details of the mundane, editing and pace, the violent sequences?

6. The title, Ray’s reaction to Bruges, the contrast with Ken’s, Harry and his memories of a childhood visit to Bruges? A world of criminals, gun dealers, touts, tourists?

7. The detail and the humour as in small anecdotes like the tourists, the interchange at the restaurant, the verbal interchanges?

8. The language, the swearing, Irish and this kind of verbal expression and its effect?

9. Ray and Ken as an odd couple, their arrival, after the jobs in London, hired killers, the hide-out, going to the hotel, sharing the room, Ken trying to sleep, Ray and his thoughtless noise, Marie and her managing of the hotel, her help, taking the message from Harry and her reaction? Ken’s apology? Her later tough stand against Harry?

10. The tours, the canals, Ken and his love of the history, Ray and his damaging remarks? His not going up the tower? The Americans and his ridiculing of them, Ken’s response? The Gallery, the being bored? Going out, seeing the film set, the comments on the midget, the chat with him, his not waving and his violent reaction? The talk of midgets? Chloe and her being on the set, his flirting, the contact? Going to the meal, her boyfriend and his being a thud? The attack? The Canadian, the issue of Chloe’s smoking, Ray’s violent reaction?

11. Harry and his phone call, Harry as a gangster, tough talk, in Bruges when he was seven, his appreciation of the beauty, the scenes at home, his family, his wife’s concern, the children? The contract, his wanting Ken to kill Ray, reprimanding Ken for being out, Ken pretending Ray was in the room and asking him to leave? Ken’s sadness after the phone call, going to the gun dealer, meeting Chloe’s boyfriend?

12. Ray, his memory, the confessional, the priest, confessing, the shooting, the shooting of the priest, the bullet going through him and killing the child, the consequences – and his concern about the pregnant Marie?

13. Political correctness, Ray and his talk of midgets, prostitutes, the brothel, friendship with the midget, the film, the dream sequence, the dwarf’s costumes, the drugs?

14. Harry and his arrival, going into the hotel, encountering Marie, confronting Ken?

15. Ray, his sadness, being haunted by the dead child, in the park, about to shoot himself, Ken stopping him, putting him on the train? The irony of the police accosting him, the Canadians complaining, his return to Bruges? The encounter with Chloe, with the dwarf? Drowning their sorrows?

16. Ray and Ken, Ken, in the tower, the possibility of shooting Ray, a sense of honour, his decision to fall to his death?

17. Ray, the confrontation with Harry? Harry and his code, Ray’s failing in his shooting the priest and the child, the confrontation in the square, Harry shooting Ray, the bullet going through and ironically killing the dwarf behind him? Harry’s reaction, his code, killing himself?

18. Ray, his being saved? Would he change? The relationship with Chloe and her drug dealing? Her boyfriend? His wanting to get out of Bruges?

19. Final comments – Hell being like staying in Bruges? Forever? - Yet the people of Bruges being happy in the way their city was presented visually during the film?