STREET KINGS

US, 2008, 109minutes, Colour.
Keanu Reaves, Forest Whittaker, Hugh Laurie, Cedric “The Entertainer” Kyles, Chris Evans, John Corbett, Terry Crewes, The Game, Naomi Harris.
Directed by David Ayer

Another LA police drama and, again, about the ambiguities in applying principles of law and justice on the streets of the city.

Writer-director has contributed to such strong films on these themes like Training Day, S.W.A.T. and Dark Blue. He also directed the very tough Harsh Times – so we know what to expect. Ayer spent his teenage years on the streets of LA South Central.

The star is Keanu Reeves as Tom, proving that in middle age Reeves can be a solid screen presence. We see him wake, do a gun deal with some shady Koreans, get involved in a shootout with them – and then find his team arriving with back-up as well as ‘cleaning up’ the scene and making sure the evidence points to ‘what it looks like’ rather than ‘what is’. The chief of the team is played by Forest Whitaker in his Last King of Scotland vein, a seemingly benign police chief but one who enjoys the exercise of power and commanding this group of somewhat rogue cops. Reeves is his chief protégé and has been for years.

However, enter Internal Affairs in the form of Hugh Laurie (in House form) who begins to open Tom’s eyes, especially when his former partner is found to be giving information to IA and is brutally killed. While Tom is an opportunist as regards crime busting, he is also a bitter man especially about his wife and seems not to care about precautions. This leads him into deeper trouble, revealing more corruption and manipulation than he thought and into danger, even from the team.

This is what is called gritty action drama. Sympathies of the audience could go either way, especially as Tom is no saint and, yet, tries to be a man of principle. Are principles a valuable asset for a cop and for a detective in such a city as Los Angeles?

While the core of the drama is resolved, the way of solving is also open to moral judgment, not only for Tom and for his chief but also for Internal Affairs and its methods.

Strong, well-acted and grim and a challenge on the level of values and principles.

1. The tradition of police stories? Los Angeles? Corruption? The good cop, bad cop routines? Dramatised in this story? To the streets of Los Angeles, night and day, homes, haunts? The precinct? The musical score and atmosphere?

2. A tough film? The ambiguity of police personnel, their activities, emotions, principles? For the introduction to Tom, waking, drinking, driving, the deal with the Koreans, selling them the guns, his being bashed, entering into the supermarket, the shoot-out, the set up, the police arriving, the media arriving, his acclaim as a hero? The arranging of the evidence? His being taken to hospital? His being looked after by the nurse?

3. His past, his wife’s death, his grudge, drinking, bitterness, his relationship with Jack, Jack as his patron, the members of the team, rivalry, acting together, the gatherings, covering the situation, hospital, the role of the group, crime in Los Angeles, the exercise of power, blackmail over authorities with information, morals or not?

4. Captain Biggs, his visiting Tom in hospital, talking about insurance, internal affairs? The discussions? Washington and the rivalry with Tom, past partners, the information Washington was giving to internal affairs, the plan? Biggs and Jack, the past, their taunting each other, blackmail, Biggs holding to principle, the truth? The end? Tom and Biggs’ plan to bring down Jack? His final arranging of the evidence – what the situation looked like?

5. The warnings to Tom, the clash with Washington, following him into the store, wanting to punch him, the shooters and his death? The discussions with Diskant? The information, the autopsy, the evidence? Diskant as a character, his help, young, going into action, the chase, his death?

6. The discovery of the contacts, scribble, his information, the man who was chased, finding the bodies, finding the undercover police? The shoot-outs?

7. Tom, the past, his wife, friendship with the nurse? Going to her in trouble?

8. Misses Washington, the funeral, and not wanting to talk to Tom, his giving her the disc, his plan, his saving her?

9. The team, the tone, following orders, relationship with Jack, on the take, the confrontation with Tom, the mouth wound, the grave, about to shoot him, his using the spade, their deaths?

10. Jack, his power, delusions of grandeur, controlling people, Tom as a favourite, the phone call to get Tom killed, Tom having the phone, the war with the money, the fund, his owning people through blackmail?

11. Biggs, the ending, Tom shooting Jack? The effect? The issues of confidence in the police or not? The issue of principles, corruption, principle in practice?

PATHOLOGY

US, 2008, 93minutes, Colour.
Milo Ventimiglia, Michael Weston, Alyssa Milano, Lauren Lee, Johnny Whitworth.
Directed by Marc Scholermann.

(US, 2008, d. Marc Schoelermann)

It’s probably fair to say that one needs to investigate one’s own pathology for being interested in seeing a film like this. It is a terror story but one that is set in the pathology rooms of a city morgue with quite some close-up attention being given to cadavers, body parts, cutting and slicing and sewing up, probably much more than any of us are going to see in real life. Not that that is a reason for going. The reason for the film is to provide something of a terror movie with some gory scenes.

It is a bit different insofar as we are not waiting for some unknown perpetrator to reveal him or herself. Rather, this is a story of a group of arrogant, amoral rogue doctors who pride themselves in their knowledge, skills and their ability to kill people deliberately or at random so that their peers will enjoy the puzzle of a post-mortem autopsy to determine how they did it. They call it ‘the game’.

The film has a rather cynical tone with the central character introduced as the ideal young American – who then joins the game and proves himself more capable than the leader of the group. As with so many terror films, young film-makers are producing an exercise in fear rather than a human drama.

1. The impact of the film? Realism? Terror and horror? The detail of the morgue and pathology activity?

2. The city, ordinary life, homes, mansions, apartments? The contrast with the hospital, the lecture rooms, the morgue itself, the pathology rooms? The musical score and its atmosphere?

3. The title, the focus on pathology, the training for the doctors, the work with the corpses? The detailed analysis of pathology? The film exploiting pathology? Close-ups and focuses on the corpses, the body parts? The rogue group and their mockery?

4. The credibility of the plot? The rogue group and their behaviour?

5. The focus on Ted Grey, his background, studies, work overseas, his relationship with Gwen, her parents, his ambitions? Going to the hospital? Friendship with Dr Morris, meeting him after the lecture? His being taken to pathology, the introduction to Jake Gallow? The other members of the team? Their initial hostility and suspicions? The support of Dr Stravinsky?

6. Jake Gallow, his personality, leader of the group? The taking out of Ted? The testing of him? Offering participation in the game? The reaction of the other members of the group?

7. Ted, his reactions, going out drinking, the discovery of the game, his responding to the dare? The attraction to Juliet? His being intrigued by Juliet and Catherine?

8. Dr Morris, upright, the examinations, the tests on the bodies? His friendship with Gwen’s family? His warnings to Ted?

9. Jake, taking Ted to the club, the murdering of the bouncer? The body, the speculation about how the man was killed?

10. The other members of the group, their murders? Juliet and her story of the fat man, of her father, abuse, the brutal way in which he was murdered?

11. The reaction of the group, testing themselves out, being ingenious?

12. Jake, his madness, Ted and his reaction? His going to the family, his relationship with Gwen, going back to the city, her coming with him?

13. Jake, going to see Gwen, her death? Ted and his doing the autopsy, framing Jake?

14. The group, Ted and the set up, setting the fire, their deaths? Jake’s escape?

15. The final fight between Jake and Ted? Getting Jake, paralysing him, Dr Stravinsky and his loyalty, working on Jake, Jake and his death? The future for Ted and Dr Stravinsky? Rogue group or not?

ONE MISSED CALL

US, 2007, 87minutes, Colour.
Shannyn Sossoman, Edward Burns, Ana Torrent, Claudia Talancon, Ray Wise, Asure Eskie, Johnny Lewis, Jason Beghe, Megan Good.
Directed by Eric Valette.

A PG 13 (US) horror film which is a welcome change from so many of the grisly and gory films (often with disposable young people) that continually pervade our screens.

It is a remake of a Japanese film – from a culture which has a strong belief in ghosts and their interventions, often vengeful. There have been a lot of Japanese films and American remakes of films on these themes, like The Ring films and The Grudge films.

This one has more interest in its characters and their fears when they receive a phone call which anticipates the way in which they are to die. The focus of the film is Beth (Shannyn Sossoman) who is a strong-minded woman who has had some bad experiences in her past. As her friends die, as predicted on their one missed call on their mobiles, she begins to fear that her turn will come. In the meantime, she is helped by a sympathetic detective (Edward Burns) whose sister was the first victim. More time than usual is spent on their searching for information about a little girl who was saved from a hospital fire at the opening of the film and whose mother seems to have been abusive. Perhaps it is her spirit that is wreaking vengeance. Just when you think it is all over, there is a good twist which sets up a final call and a dramatic ending.

Horror fans complained that it was too mild a terror film which means that it might be enjoyed by ordinary audiences who are after an acceptably scary movie.

1. A terror and suspense film? A story more credible?

2. The Japanese origins, the original film? Japanese beliefs in ghosts? As transferred to the US?

3. The Atlanta settings, the city, the …… authentic, the musical score?

4. The special effects, ghosts, images, deaths.

5. The opening with the hospital, Laurel and her being saved from the fire, the connection, the nursery, her mother, suspicions about her mother, the hospital story, Ellie, Ellie’s death, Marie as the suspicious ghost, yet saving Beth? Watching the DVD? Ellie and her cruelty, the candy given to her sister, her arriving, threatening Beth, her mother saving Beth?

6. The plausibility, ghosts, the phones and the calls, the anticipation of deaths, the recording? The title? The tune and its being played?

7. Shelly, cat, the study, drowning – a funeral, Lianne and the call, her fears, Bryan and his reactions?

8. The background of psychological studies, the abuse of children, the lecturer and her latest scepticism, Lianne, upset, seeing ghosts, going to the library, ringing Beth, going to the overpass, her death?

9. Taylor, her talking at the funeral, Bryan and his upset, his being the next one, talking with Beth, the scaffolding, his dying?

10. Taylor, her fears, going home, at her parents, the TV executive and his approach for her to go on TV, her decision to go, dying in the studio?

11. Jack, his work, policemen, his sister’s death, identifying her body, being the candy? Hearing Beth and her complaint to the policewoman? The scepticism of the policewoman? Following her, discovering what had happened, helping Beth, the hospital, the information, watching the DVD, rescue, his own death?

12. Beth as the focus, audience identifying with her, her being the host at the party, friend to all those who had died, reassuring them, her own fears of going to the keyhole of the door, the flashbacks, her mother taunting her, her mother sending the letters and her tearing them up, her father killing himself? Her studies, friendship with Shelley, Lianne, Bryan, Taylor? Jack and his help? Watching the TV, Taylor’s death? Research, finding out about the hospital, going to the nursery, going to see Laurel, not getting any answers out of her, the help of the nurse at the nursery? The library, going to the hospital, searching for Marie’s body?

13. The eerie atmosphere, the melody, the hospital, the fight, the being saved by Marie, going home, not hearing Jack’s phone call, going to the door, Jack’s death? Ellie coming? Marie saving her? The final phone call?

14. The effect of this kind of ghost story – improbable but plausible?

IRON MAN

US, 2008, 126 minutes, Colour.
Robert Downey Junior, Terrence Howard, Jeff Bridges, Gwyneth Paltrow, Leslie Bibb, Clark Gregg, Jon Favreau.
Directed by John Favreau.

The Marvel Comics company must be more than marvelling at how successful their movie franchise has been over the last ten years or so: X Men trilogy, Spiderman trilogy, Daredevil, Ghost Rider, more Batman films, Wolverine coming up soon and plans for a number of the popular comic books to be brought to big screen life.

And here is Iron Man to make a strong contribution to the success.

One of the good things about Iron Man is that he was not genetically modified by any bites. He doesn’t have any unearthly powers. Rather, like Bruce Wayne who becomes Batman, Tony Stark is a wealthy (that takes care of his labs and technical and technological developments), highly intelligent (that takes care of his inventions being more than we can anticipate), patriotic (he is in the arms production and distribution business) and, generally a hail-fellow-well-met.

However, he is more than something of a playboy (not like the austere Bruce Wayne). Since the film has been updated from Vietnam to the present, the focus is on war in Afghanistan. Out there to arrogantly and vainly present his latest missiles, he is captured, tortured and sees for himself what damage his arms do. In 2008, with opinion against the war in Iraq and occupying forces in Afghanistan, the film takes a turn for more peace-oriented issues. Tony Stark is a changed man and, despite Wall St stock losses, his interest is in developing his iron man flying suit for positive purposes.

Gwynneth Paltrow is his noble and faithful assistant, not exactly a Lois Lane but rather the attractive equivalent of Bruce Wayne’s butler and secretary.

When we hear Jeff Bridges’ voice and look at the screen, many of us do a double take – just who is this bald and grey-bearded man? Yes, it is Jeff Bridges, all set up to be the villain of the show (in something of a parody of Dick Cheyney and his vice-presidential power behind the throne and the companies he has been associated with having huge contracts in post-invasion Iraq).

Which leaves us to comment on Robert Downey Jr being a superhero. He is not exactly the actor who comes to mind to portray a superhero (and neither was Michael Keaton, a comedian who made a rather grim Batman). However, Tony Stark is more extraverted and Downey is obviously relishing the chance to be the man about town turned zealous patriot and do-gooder. He also gets the opportunity to do a lot of stunts as most of the action in the latter part of the film has him testing his suit as he flies to Afghanistan, checking out its possibilities both in the lab and in the skies above LA and, finally, in his combat with a villain in a giant-sized iron man suit.

Some wit in the screenplay and performances from the cast who are presenting it all quite seriously means that this is one of Marvel’s entertaining blockbusters.

1. The popularity of the film? Heroes? Comic book heroes?

2. The Marvel Comics and their popularity, the stars and heroes? The emerging film tradition?

3. A more realistic hero? The explanations of his background, wealth, character, scientific genius, technological know-how, his experience in Afghanistan, the injuries, his inventions, the change, the difficulties with his heart, his work at home, his mission?

4. The United States and the wealthy background, the weaponry, the laboratory, the factory? The American military? The Afghanistan villages, caves, deserts, mountains? The war? The musical score?

5. The technology, the military, the weapons, science, the climax with the confrontation between the two iron men?

6. The introduction to Tony Stark? Robert Downey Jnr in a comic strip hero role? The opening, the drive in Afghanistan, his manner, talk, taking the photos with the men, the sudden explosion, the ambush, his fleeing, being taken prisoner, the torture, his assistant and the translator? Yansen and his domination, wanting missiles? The Afghans and their attempts on Stark’s life – and the irony of the revelation about Obadiah? Stark and his building the machine, his escape, the attack, the destruction of the enemy, wandering the desert, the helicopter rescue?

7. The flashback to the dinner, the awards, the speeches, the DVD of Stark’s life in Korea, his father, Obadiah, his not being present, Jim Rhodes’ speech? His gambling, the journalist and the interview, the sexual relationship, Pepper Pots and her help? Getting rid of the woman? His skills, workaholic, achievement?

8. The experience in Afghanistan, the change, his return, wanting the burger, the casual press conference, Obadiah trying to smooth things over, Jim Rhodes and the military reaction? The stocks in the company going down? His not wanting to make weapons any more?

9. Tony’s character, his work, skills, the testing of his new suit, the dinner, the journalist and her questions? Pepper and her dress, the dance? His going to Afghanistan, avenging the people in the village, the deaths of the attackers, the incident and his injuries?

10. The military, the flights, seeing Iron Man flying, wanting to shoot him down, breaking the wing of the plane, his being on the bottom of the plane, Rhodes seeing this? His return?

11. His heart, survival, the magnet stopping the shrapnel going into his heart? The improved model? Pepper and her wariness in changing it? His testing his suit, the flights, Pepper seeing him, the ice and the test?

12. Obadiah, going to Afghanistan, the plan to kill Tony, with Yanson, killing him? Pepper, her downloading the information?

13. Obadiah threatening Pepper, threatening Tony, paralysing him?

14. Pepper, Agent Coulson and the agency, wanting the assistance of Tony? The arrest, Obadiah?

15. The build-up to the confrontation, Section 16, the enormous suit, Obadiah and the fight, going high, the ice and the confrontation on the roof, Tony getting Pepper to press the button?

16. The end, the press conference – admitting he was Iron Man?

17. The battles between good and evil, change, effort?

18. The background of the war in Iraq, American arms deals – and the parallels with the contemporary American military situation at the beginning of the 21st century?

P2

US/Canada, 2008, 98 minutes, Colour.
Wes Bentley, Rachel Nichols
Directed by Frank Khalfoun

P2 is an area in a parking lot. It is Christmas eve and Angela (Rachel Nichols) is conscientiously working late though expected at her sister’s with a Santa Claus costume and gifts for the children. By the time she is ready to leave, she comes down in the elevator with Carl the supervisor (and we guess, rightly, that the next time we see him he will be dead). Then her car won’t start – we knew it wouldn’t. She looks for help and finds Tom, a security guard (Wes Bentley) who kindly offers her jump leads. But, we guess he has tampered with the car and when she calls for a taxi and he invites her to share a Christmas eve meal with him, we know that it is going to be a long night, that she is going to be harassed and assaulted, flooded in an elevator, hidden in the boot of a car, chained… and that he is a mad ‘collector’. When the taxi does come, the automatic doors of the building don’t work, the taxi goes off and…

This is female in peril stuff with some rather bloody sequences, some overpowering cruelty on Tom’s part, some desperation on Angela’s but, despite everything, she uses her wits and her strength to confront Tom.

The film is really an exercise in terror film-making with effective sets and pace (and some audience jumps, especially with a vicious dog) and reasonable performances. It will be too scary for some, too bloody for others and, over all, there is a brutal atmosphere and some sadistic sequences. The film comes, as the poster boasts, from the makers of Switchblade Romance – so, this is either an enticement or a warning off.

1. The makers of the film and their career? Interest in horror films? Terror?

2. The film as a terror exercise? By the numbers, use of the female in peril? The menacing madman?

3. The confined atmosphere of the parking area?

4. The location, the parking area? Christmas Eve, the dark, light? The cars? The emptiness? The use of the location for fear, menace, terror? For the introduction to Angela, her work, the man coming to the office, the background of his assaulting her? His apology, her forgiveness? Her phone call to her sister, the family waiting for her at home, her continued work? Her leaving the office late, the encounter with the security guard? Going down in the elevator?

5. Going to the car, the gifts, the car not starting? The security and the locked doors? Her finding Tom, his offer to jump start the car and the battery? The failed attempt?

6. Angela and her decision to get a taxi? Her calling the taxi, waiting, her not being able to get out? The absence of Carl, the guard? Her seeing the taxi go? Tom and his assault, rendering her unconscious? (And the later scene of the video and his treatment of her while unconscious?).

7. Angela, her strength of character, her reactions, using her wits? Participating in the dinner? Her being chained? The fear of the dog? Her getting away? The pursuit, Tom and his following her, brutalising her? The attempt to get the mobile phone? The message getting through, the not retrieving the machine? Her hiding, her being in the elevator, his flooding the elevator? Her discovering Carl’s body? Getting out? Her continued use of her wits, hiding in cars? Going to the office? The chase, the death of the dog? Tom’s reaction to this? Her hiding? The police arriving, the search, her inability to alert them? The boot of the car? The getting out?

8. Tom, his seeming kindness, his personality? The dinner, assaulting her? His mad talk, continued persecution, the dog? The violence? The death of the man, running him down? Bashing him? Angela’s wanting to save him?

9. The police, the search, Tom and his behaviour with them? The mirrors, the cameras – and Angela breaking them?

10. The final confrontation, her stabbing Tom, her getting keys? Her chaining him to the car, the petrol, setting it alight?

11. Her final exit into the Christmas morning? Her suffering? Her action, being saved?

12. The female in peril? The mad menacer, the collector? The woman defeating the man? The picture of violence? Too much? Sadism in the presentation of the violence? An exercise in the cinema of terror?

BIRD OF PARADISE

US, 1932, 80 minutes, Black and white.
Dolores Del Rio, Joel Mc Crea.
Directed by King Vidor.

Bird of Paradise is an early sound film – and looks and sounds it. However, it was directed by King Vidor who had shown such skill for many years in silent films, The Crowd, and in the sound era through the decades with Stella Dallas, Duel in the Sun, the Audrey Hepburn- Henry Fonda War and Peace.

The film showed the interest in the South Seas and exotic locations at the time. Flaherty’s Moana and Pabst Tabu had been released in the years before Bird of Paradise. The South Sea settings became ever more popular with Dorothy Lamour, John Hall and Maria Montez, with popular films like South of Pago Pago with Frances Farmer to more serious films like Mutiny on the Bounty, with the establishment of the community on Pitcairn Island through Fletcher Christian, and John Ford’s Hurricane.

The screenplay, in retrospect, seems to take a condescending attitude towards the natives of the South Pacific – idealising them as perfectly happy yet critical of their superstitions and the rituals and behaviour. The film has a contemporary setting, a luxury yacht going to the islands, the Americans superior to the natives and, eventually, wanting to take the heroine back to America.

Most of the film is a lyrical love affair between Dolores Del Rio as Joel Mc Crea as one of the sailors. This is the Fletcher Christian type of experience. However, Luana is the daughter of the king, is forbidden to have any relationship with a white visitor, has to be the victim to the gods when the volcano erupts. However, she is able to rescue Joel Mc Crea who ultimately dies. She then offers herself in self-sacrifice.

For those who enjoy this South Seas adventure – but a little creaky by later standards. It was remade nineteen years later in colour with Debra Paget and Louis Jourdan.

1.An entertaining film of the 30s? Its technical side of the 30s? Direction, sound engineering, performance?

2.Hollywood interest in the South Seas? This a contemporary story rather than historical? The sailors, the wealthy Americans? The encounter with the natives? The clash of cultures?

3.The black and white photography, studio sets, special effects, the volcano? The choreography (seeming more like Broadway than anthropological)?

4.The attitude of the screenplay towards the South Sea islanders, seeing them living in a paradise, yet seemingly primitive, superstitions, rituals? The superiority of American culture and wealth?

5.The yacht, the sailors, going into the bay, through the narrows? John and his expertise? The encounter with the natives, friendliness? The natives swimming and diving for gifts? Luana amongst them? The shark, John falling overboard, Luana rescuing him?

6.The language barrier – and the film not making the easy switch to English? Luana taking time to learn English?

7.The celebrations, the rituals, the dancing? John picking up Luana, the king and his reaction? The explanation of the customs?

8.Luana, daughter of the king, her swimming? The life together, the swimming (and the frankness and explicitness pre-Code)?

9.The eruption of the volcano, the traditions, Luana to be the victim? John and his trying to help her, his swimming, the whirlpool? His being saved by Luana?

10.John, rescued by the boat, his death? Luana and her grief? The possibility of her going to America?

11.Luana, her self-sacrifice, the volcano, robed for the ceremony, with her father, going to her death?

12.Popular melodramatic story and style of the period?

RED RIDING

Red Riding consists of three films for television which are interconnected but can be seen as stand-alone films. Tony Grissoni adapted novels by David Peace (author of The Damned United) which treat corruption in Yorkshire during the 1970s and 1980s. The three films have titles: In the Year of Our Lord: 1974, 1980, 1983.

Each of the films has a separate director. The first was directed by Julian Jarrold (Being Jane, Brideshead Revisited). The second was directed by James Marsh (The King and the Oscar-winning Man on Wire). The third was directed by Anand Tucker (Hilary and Jackie, Shopgirl).

Each of the three films focuses on one central character but the other characters appear in and out of all the other films. In 1974, it is the young journalist played by Andrew Garfield (Lions for Lambs, Boy A) who begins to investigate a series of abductions of young girls. He comes up against the power of the police, against a developer played by Sean Bean, and becomes involved with the mother of one of the girls who disappeared (Rebecca Hall). The police are played by Warren Clark, David Morrisey, Neil Lewis. The film is grim, complex.

The 1980 film focuses on a police inspector, played by Paddy Considine (lead in many of Shane Meadows’ films), who is asked to lead the investigation into the Yorkshire Ripper. In fact, the background of the Yorkshire Ripper is kept somewhat in the background until Peter Sutcliffe is arrested (played by Joseph Mawle, who previously had played Jesus in the BBC film of The Passion). However, it is the picture of the police, their brutality, their cover-ups, their management of vice in the north which is at the centre of attention.

In the first two films, both of the central characters die giving a grim perspective to the possibilities for justice or redemption.

There are two centres of attention in 1983. The first is Mark Addy as a lawyer who is asked to take on the defence of the young man (Daniel Mays) who was imprisoned for the abductions but was not guilty. He was the victim of a police conspiracy. The police again appear, Warren Clark, Neil Lewis, as well as Jim Carter who was introduced in the second film. They form a band of brothers who want to control vice and have the motto that in the north they can do anything. However, another focus of attention is David Morrisey, who was part of the conspiracy, but had warned the young journalist in 1974 of what was happening and who has remorse. He was involved in torture – but is set on some kind of redemption and helping the young man who was accused as well as his friend who was also accused and then committed suicide in prison.

The films are particularly dark – and a number of commentators felt that the corruption in the Yorkshire police was exaggerated. However, a comparison from Australia, the Liberal government and the premier of New South Wales in the 60s and 70s headed up a similar kind of conspiracy of police corruption.

The films are an interesting addition to a look at society, history, social situations – as well as the role of the police.



RED RIDING: 1974

UK, 2009, 97 minutes, Colour.
Andrew Garfield, Anthony Flanagan, Sean Bean, Rebecca Hall, Sean Harris, Eddie Marsan, Daniel Mays, David Morrissey, Warren Clarke.
Directed by Julian Jarrold.

1.British history in the 70s and 80s? Life in Yorkshire?

2.The bleak perspective of the film, police and social corruption, developments and landowners? The credibility of police and death squads? The role of the media? Complicity?

3.The first of a trilogy, the focus on the media, police, social welfare, the law? The interconnectedness of the stories, each as a stand-alone story? Characters in the various stories, overlap of events?

4.The title, Yorkshire, Riding? The fairy tales – the innocent, the little girl wearing the red hood, the pack of wolves in Yorkshire?

5.1974 in the United Kingdom, government, the police, accountability?

6.The style of photography, dark, the locations, the press rooms, police precincts, homes, clubs, nursing home, mansion? The open roads, the underpasses, the gypsy site, the hills? The building sites? Realistic?

7.The violence of the period: murders, the abduction of children, Barry’s death, Eddie being bashed, the police bullies, killings, police torturing Eddie and throwing him out of the van? The violent ending and Eddie shooting Dawson?

8.The abductions, the press conference, the grieving parents, the other girls being murdered, their parents? The emblem of the swans during the opening credits, the episode of the mutilation of the swans, the wings of the little girl? The swans in Dawson’s cupboard? The body found on the supermarket development site? The graphic photos? Mrs Dawson's comments about her husband being careful, the bodies under the carpets? The young man accused of their abduction, slow-witted, in the court? Dawson admitting the truth, saying that he was no angel just before he was shot? His knowing Paula all her life, killing her daughter?

9.The police and the administration, no accountability, the burning of the gypsy settlement? The warnings to Eddie, breaking his hand? His interview with Barlow? Barry and his contacts, information, the drink, Barry’s challenge to him about being a decent man? His being bashed, tortured? Finally Maurice Jobson burning the evidence that Barry had collected?

10.Media, Ed and his time down south, returning to the paper, his interest in Dawson? John and his being a veteran, his experience, Eddie’s attack on him, his calling him Scoop? Eddie accusing him of being hand-in-glove with Dawson? The editor, his role, his comments about language, his giving information to Eddie, controlling him? The paper’s staff?

11.Barry, his conspiracy theories, liking Eddie, the information about Mrs Dawson, collecting the evidence, drinking with Eddie, his aphorisms about the lack of energy by one good man? His death, the accident, the shattered glass? The police at the death scene? Crawford and the discussion with Eddie? The funeral and the panegyric? P.J., his love for Barry, giving Eddie the documents? Crawford giving the documents to Jobson, his burning them – and the image of Barlow watching in the window?

12.The focus on Eddie, young, down south, the return, with his family, the press conference, the suggestion about linking the abductions, his research? The body being found, his going to interview the boy who found it, being taken to the site, the boy being under suspicion, his mother’s reaction? The minister present? Barry pointing out the role of ignorance, the police bashing of Eddie’s hand? His going to visit Paula, her bad reaction? Seeing her in the pub, her speaking to the police via Dawson? Going to her home, the affair? Barry’s death, the encounter with Dawson, the talk and Dawson’s threats? His moving out of home? Barry’s room and all the evidence, getting the bag of evidence from P.J? Paula, talking, following Paula to Dawson’s house, her disappearance? The explanation, his proposing that they go south, to the sun? His going to Mrs Dawson, pretending to be her nephew, getting the information but not understanding it? Going to Dawson’s party, shouting for Paula? His being picked up by the police, the grim torture, his getting the gun, going to shoot Dawson? Finally crashing into the police?

13.Paula, as a mother, her dead husband and his suicide, Eddie visiting her and her resentment, the pub, her reliance on Dawson all her life, the relationship with him? The affair with Eddie, preparing to leave, going to Dawson’s house, her death, Eddie seeing her body in the morgue?

14.Dawson, the developer, his financial trusts, the supermarket, the bigotry in his language, his discussions with Eddie, the warning, talking about his relationship with Barry and feeding him information? At home? The swans? The social, Eddie searching for Paula? At the club, the suddenness of his death?

15.The scapegoating of Michael Myshkin, in photography, his room, evidence, slow-witted, his not being the abductor and murderer?

16.Bob Craven and the other police, the ugliness of their behaviour, law unto themselves, the gruesome torture, playing jokes, throwing Eddie out of the van?

17.The nihilistic view of the film, with Eddie’s death, the seeming inability to uproot corruption?


RED RIDING: 1980

UK, 2009, 95 minutes, Colour.
Paddy Considine, Maxine Peake, Warren Clarke, Julia Ford, Kelly Freemantle, Joseph Mawle, David Morrissey, Peter Mullan, Lesley Sharp, Robert Sheehan.
Directed by James Marsh.

1.British history in the 70s and 80s? Life in Yorkshire?

2.The bleak perspective of the film, police and social corruption, developments and landowners? The credibility of police and death squads? The role of the media? Complicity?

3.The first of a trilogy, the focus on the media, police, social welfare, the law? The interconnectedness of the stories, each as a stand-alone story? Characters in the various stories, overlap of events?

4.The title, Yorkshire, Riding? The fairy tales – the innocent, the little girl wearing the red hood, the pack of wolves in Yorkshire?

5.1974 in the United Kingdom, government, the police, accountability?

6.The photography, the police precincts, offices, press conferences, clubs? The atmosphere of the Yorkshire Ripper? The interrogation room? Authentic? The score?

7.The Yorkshire Ripper focus? Peter Hunter and his being handed the task of heading the inquiry by the authorities, the interviews? Called in because of expertise, his setting up his team? Having Helen Marshall on the team? Bob Craven and the others? The nature of their investigations, research, documents? The interactions with the local authorities? Cooperative or not? Discovering the cover-ups? The various leads? The arrest and the interrogation of Peter Sutcliffe?

8.The public and their reaction to the Yorkshire Ripper, the television interviews, the people on the street, their concern?

9.Peter Hunter in himself, his abilities, previous work? Relationship with his wife? The affair with Helen in the past? The tension in their work, their discussions, talking about the past, beginning the affair again? His relying on her? The authorities, using this against him? His dismissal? His research into the Ripper’s victims? The issue of Clare Strachan?

10.The various victims of the Yorkshire Ripper? Over the years? The grief of relatives? Identifying the bodies? Clare Strachan as not fitting the pattern?

11.Clare Strachan, her work in the club, B.J. and friendship? The witnessing of the killings? Knowing that Craven was a criminal policeman? The differences, the questions? B.J. and Laws putting him forward? Discussions with Hunter? The further investigation, the link with John Dawson? The connections with the police? Craven and his brutality?

12.The relationship between Peter and his wife, tension, his love for her? The scenes at home? The burning of his home?

13.The officials, the commission for the inquiry? The press conference? The local authorities standing back?

14.The discussion with the local authorities, going out for the meal, the limits of the inquiry, collaboration, documentation?

15.The police, the leadership, the personalities, Molloy? Corrupt? The cover-up, the investigations?

16.The build-up to Peter Hunter being unwelcome, his investigations – his being shot?

17.The bleakness of the perspective of the film? The destruction of the Crusaders for Truth?



RED RIDING: 1983

UK, 2009, 97 minutes, Colour.
Mark Addy, David Morrissey, Jim Carter, Warren Clarke, Sean Bean, Sean Harris.
Directed by Anand Tucker.

1.The place of this third film in the trilogy? The links? Its capacity for a stand-alone film?

2.The focus on 1983, the continued murders, the role of the police, corruption? The links with 1974, the abductions, the characters in the earlier film, their reappearance, a different interpretation of action?

3.The locations in Yorkshire, the cities, the police precincts, the homes, the countryside? The musical score?

4.The background of 1974: the abductions, the images of swans’ wings, the cruelty? The police investigation, the cover-ups for John Dawson? Audiences’ assumptions that Dawson was the murderer? 1983 and another killing?

5.The focus on John Piggott, a failure, large, his father, returning to the city? His work? The friends of Michael Myshkin, their appeal to him? His going to prison, discussions with Michael? With his mother and other friends? His deciding that Myshkin was innocent? His investigations, his going to interview the other suspect? Interrogations? His suicide? The discussions with Maurice Jobson? What he uncovered? His vindication?

6.The contrast with Maurice Jobson, his presence in the other films, part of the corrupt police group? His relationship with Bill Molloy and Harold Angus? In the past, his investigations for the abductions of the girls, the links with John Dawson? The revelation that he had tipped off the young journalist? His growing remorse? The imprisonment of Michael Myshkin, his interrogating him, framing him? His trying to undo what he had done? The reaction of Angus and Molloy? Their threats? The contact with Martin Laws? The discussions? The role of Mandy Wymer, as a medium, the discussions with her, her giving the clues, authentic? The reaction of the other police? His relationship with her? His growing remorse, discussions with Piggott? The resolving of the mystery and his action?

7.Mandy Wymer, her role in the investigations, as a medium, her accuracy? Her relationship with Maurice Jobson?

8.Martin Laws, as a minister? His appearance in the previous films? Contributing? Supporting Eddie in his investigations? The revelation that he was in contact with Dawson? The revelation that he was the man behind the abductions and murders? The shock for audiences? The revelation of hypocrisy?

9.Leonard Cole, finding one of the bodies, as a suspect, interrogated, tortured, his family supporting him? Interviewed by Jobson? His killing himself?

10.Michael Myshkin, simple, the sex background? His arrest, his forced confession, the threats to him? His years in prison? The interview with Piggott, his not being in his right mind, Jobson coming to visit him? His relationship with Leonard Cole and shock at his death?

11.BJ, his role in the previous films, as a witness? His being in prison? Let out, discovering the truth, coming to confront Martin Laws? His not being able to kill him? The pathos of his life, seductions, behaviour in prison, the flashbacks to him as a child?

12.The revelations about characters in the earlier films, what actually happened, their lives, deaths? The introduction of flashbacks with John Dawson and a reminder of his role in 1974?

13.The cumulative effect of these three films? About society, police, laws unto themselves, corruption and greed, the condoning of violence, the brutal police methods? The overall pessimistic tone – especially when those who campaign to do good are defeated or killed?

FREE JIMMY

UK/Norway, 2006, 86 minutes, Colour.
English version: Voices of: Woody Harrelson, Simon Pegg, Phil Daniels, Jay Simpson, Kyle Mac Lachlan, Samantha Morton, Jim Broadbent, Amelia Fox, Kris Marshall, Lisa Maxwell, James Cosmo, Douglas Henshaw, David Tennant, Russell Barr, Steve Pemberton.
Directed by Christopher Neilson.

Once upon a time, there was Fritz the Cat, from cartoons by Robert Crumb and animated on film by Ralph Bakshi. It was considered the first of the mainstream R certificate animation films. Since then, animation for adults has proliferated and no subject is taboo. Much of this kind of work was considered 'underground' in the past and Norwegian artist, Christopher Neilson, has continued in this tradition.

As his film, Free Jimmy (echoes of Free Willy) comes over ground, we see that these days there are no holds barred in content, language or visualisation (especially for blood, death and dismemberment). Not that it isn't extremely clever and will find a cult following of devotees but many of the overground audience may well find it too much.

From the late 1960s, there used to be jokes (as well as reality) about audiences getting high to appreciate and enter into some films. Since many of the characters in Free Jimmy are stoned a lot of the time and others are drug dealers, this is obviously one of those films to watch while in an altered state.

As for Jimmy, he is an elephant. But, he too is stoned, and has been for years to keep him subdued as he performs in a third rate touring circus. The humans involve a number of groups: a rabid animals' liberation movement, the circus itself and its workmen, some moose hunters and some Russian drug dealers – all in pursuit of Jimmy who, scraggy though he is and doped up, makes a bid for freedom, helped by a kindly moose, the most sympathetic character in the whole film. There are also two nice American tourists who don't want to disturb the thugs but they are quickly disposed of.

So, there is lots of action in the mountains as groups pursue groups and poor old and decrepit Jimmy can hardly stand, let alone run, on his last legs.

The voice cast is topnotch with Woody Harrelson and Kyle Mac Lachlan, Samantha Morton and Jim Broadbent, Scots James Cosmo and Douglas Henshall and the cast of the League of Gentlemen. Simon Pegg is there too and he wrote the English screenplay.

Most films can be described as 'mainstream' movies. Free Jimmy is a 'substances in the bloodstream' movie.

1.Norwegian animation, a cult story, drawing and style?

2.The British adaptation and British and American voices?

3.The style of drawing, use of colour, images, characters larger than life, big, blunt dialogue, locations, Oslo, the wintry countryside? The Nordic atmosphere? The musical score?

4.Animation for adults, the language, situations, sexuality, violence, the hunting?

5.The opening and its tone, the animal liberation group, their personalities, motivations, going into action, protest, the explosion, viciousness?

6.The group of down-and-outers, Odd, Gar, Flea? Their meeting Roy, his offering them circus jobs? Looking after the elephant, an elephant called Jimmy? Discovering that Jimmy was drugged all the time for his performances?

7.Roy and his motivations, the hidden cache under the elephant’s skin? Feeding Jimmy drugs? The liberationists setting him loose, the role of the police, Roy’s quest to find Jimmy? Getting the slackers to help?

8.Jimmy and the liberation, going into the snow, Roy and his friends, the pursuit?

9.The Lapland bikers, their appearance, talking, wanting to find the drugs?

10.The hunters, their appearance, their leader, aggressive?

11.The moose, his meeting with Jimmy, helping Jimmy with his withdrawal symptoms? His saviour?

12.The build-up to the confrontation, in the mountains and the snow, the groups converging, the shootout, the blood, the Lapps falling off the cliff, the liberationists’ dog being trampled, Sonya and her reaction, shooting with vengeance?

13.Jimmy, his fall, dying, the moose burying him, the stone cairn?

14.The film’s observation on the uglier aspects of human nature? The exploiters, the ideologists? A moral perspective or a sardonic perspective?

ASHES OF TIME REDUX

China, 1994/2008, 93 minutes, Colour.
Brigitte Lin, Leslie Cheung, Maggie Cheung, Tony Leung Chiu Wai, Jacky Cheung, Tommy Leung Ka Fai, Li Bai, Charlie Leung, Carina Lau.
Directed by Wong Kar Wai.

Ashes of Time was considered a classic in the mid-1990s when it was first released. Wong Kar Wai had made a great impact with his Chung King Express and his films from Hong Kong. He went on to become more celebrated worldwide with such films as Happy Together, In the Mood for Love, 2046. Dissatisfied with the copies available of Ashes of Time, Wong Kar Wai re-edited it for 2008 and rereleased it.

On the surface it looks like a martial arts film. However, it is very much Chinese storytelling, a blend of action, mysticism, philosophy. This makes it rather difficult for a western audience to understand – although the characters are vivid, the interactions strong, the presentation of imagination and reality intriguing.

The film has a strong Hong Kong cast led by Leslie Cheung who does the voice-over for the narrative.

1.The work of Wong Kar Wai, in the 90s, revision in the 21st century? Reputation? The decision to re-edit his film?

2.Chinese history, martial arts? A mythical period, costumes and décor, production values? Special effects and action sequences? The atmospheric score?

3.The photography, the desert and its ambience, light, the mountains? Beauty?

4.The title, memories and meanings?

5.The period for the film story, a mythical time, a desert location, the occasion an eclipse of the sun? The following of the seasons?

6.Assassins and their business? Ou- Yang and his being a manager of assassins? The visit from Huang? Their past association? The gift of the wine from the woman? Huang drinking and losing his memory? Ou- Yang not drinking? Huang and his behaviour, the romance of Peach Blossom? The importance of the blind swordsman, his wife, Huang’s dalliance, the husband’s revenge? The encounter with Murong Yin? Her brother? Hiring the assassin to kill Huang?

7.Yin and her brother Yang? Ou- Yang and realising the two facets of the one person? The fights?

8.The young girl, wanting Ou- Yang for vengeance, the meagre pay? Ou-Yang? refusing? Her own fight, the water image and the dream?

9.The blind swordsman, taking on the mission for the girl, the kiss, the fight, death?

10.The blind swordsman, his ambition, fame? Fleeing his wife? The bandits? The battles, losing the finger? The contrast with Ou- Yang?

11.Ou- Yang and Peach Blossom, Huang and his visit? Ou-Yang’s? former love, regrets, leaving her, Huang bringing the wine from her? Ou- Yang drinking it and going home?

12.A critic said this way of storytelling was somewhere between the exotic and the absurd. How true? Stylised film-making, symbolic characters and narration?

13.The use of Buddhist traditions, the seasons, the aphorisms, change, honour, love and greed? The role of memory, disconnection, rediscovery of self?

HIDDEN IN AMERICA

US, 1996, 93 minutes, Colour.
Beau Bridges, Bruce Davison, Shelton Dane, Jena Malone, Alice Krige, Josef Sommer, Frances Mc Dormand, Jeff Bridges.
Directed by Martin Bell.

Hidden in America is a significant telemovie. Aimed at a wide audience, it was an indictment of American society in the 1990s and the hidden poverty amongst ordinary people.

Beau Bridges portrays a man who has lost his job to mechanisation in a factory, had his wife die of cancer, lose his jobs and decide to migrate to Seattle. He has two young children. He is unable to provide well for them, his daughter (Jena Malone) suffers from malnutrition and is exposed to infections. His son (Shelton Dane – a very good actor who decided not to be an actor because he wanted to live a normal life) is the idealistic son who misses his mother, is preparing a time capsule for a hundred years hence, tries to emulate his father and is disillusioned when his father has to go against his principles of accepting charity. The other family in the film is that of Doctor Michael Millerton, a top surgeon (working with another surgeon, played by Jeff Bridges), his wife Dee (Alice Krige) and a son and daughter. The two daughters go to school together and become friends. Doctor Millerton volunteers for work in the clinic and encounters Bill Januson and his daughter.

The film follows the fortunes of Bill, his attempts to find jobs, his interviews with bureaucracies for help and for food.

The film is very sad in its portrayal of this kind of hidden poverty in a city like Seattle. However, it praises the human spirit and is not without hope. It does mean, however, that individuals and families have to accept their difficulties and overcome their pride so that there can be collaboration in assistance.

1.An effective telemovie, wide audience, their interest, for entertainment, message?

2.Audiences identifying with the main characters, their situations? Wealth and poverty? Pride and humility? Oppression, bureaucratic communication with those in need? A film of the US in the 1990s? Valid for earlier periods and later?

3.Filming in Seattle, realism, the apartments, homes, burger diners, restaurants, building sites, bureaucratic offices, hospitals? Score?

4.The title, hidden poverty, the question of why it was hidden, a cry for compassion and justice?

5.The Januson family: Bill, losing his job at the plant, being replaced by a robot, being sacked, his wife and her illness, dying of cancer, lack of insurance, the savings all gone? The decision to move to Seattle? The apartment with his children? Flipping burgers, needing extra hours? The poor pay? Going to the trash, bringing burgers home for the children? Applying for the job at the restaurant, buying the clothes, being told that the place had been filled by the manager’s nephew? The injustice? The handling of the situation by the manager? His going to different offices, the bureaucracies, queues, interviews, the delays in getting money, food? Desperation? His pride and not wanting to go to soup kitchens and have handouts? Willa and her illness, going to the hospital? Michael and his help, Bill refusing? His speeches about his pride and handouts? Robbie and his admiration for his father, losing faith in his father? The portrait of a good man in desperation?

6.Willa and her age, lack of nutrition, at school, playing games with Caroline, in her home, Caroline’s family, taking the food from the fridge? Playing with Robbie? Missing her mother, at home, her love for her father? The poor food? The coughing in the night? Going to the doctor, embarrassment at knowing Michael? Her father giving her gifts, her joy? The barbeque and the happy ending with friends, Bill getting a job?

7.Robbie, his age, his responsibilities, missing his mother, the items put in the time capsule, the photo of their mother, his writing letters for the future? His pride in his father, helping Willa, skipping school, going to work, working with Gus, the discussions, her work ethos? Angela? The notice, motors, fixing the car, wanting to sell it, the urgency, Gus telling him to pace himself, Angela crashing the car and the disappointment? His disillusionment with his father taking charity? Injuring himself? Hospital?

8.Michael and his family, his work as a doctor, the surgery, the discussions with Vincent, the bet, taking his charity work? The criticism of him, his prescribing expensive medication? Meeting Willa, the discussions with Bill, the tests? The issue of malnutrition and explaining it to Bill? The no-show at the second appointment? Bill’s anger, Caroline’s phone call, his visit? Offering to help, offering jobs? At home, his wife, his children, Willa at the meals, his wife wanting to help, wanting to talk about Willa stealing and not knowing what to say? The growing concern of both parents, discussions with Vincent? The invitation to the barbeque? His in-laws and their comments about poverty, infection? His growing awareness of the problems?

9.Gus, work at the garage, tough, her abilities, helping Robbie, exasperation with Angela and her boyfriend? Fixing the car, telling Robbie to pace himself, the crash and her excusing Angela?

10.The various officials, the interviews with Bill, the wrong queue, the wait for coupons, the money, for food? The hospital interview?

11.Work at the burger diner, helping out, the restaurant situation, buying the clothes, losing the job?

12.Going to the pawnbroker, the meagre amount of money for his wife’s watch?

13.A compassionate film about people, needs, society and its response?