THE HOUND OF THE BASKERVILLES

Canada, 2000, 90 minutes, Colour.
Matt Frewer, Kenneth Welsh, Jason London, Emma Campbell, Robin Wilcock.
Directed by Rodney Gibbons.

There have been at least twenty film versions of The Hound of the Baskervilles. In English language films and television series Sherlock Holmes has been played by such actors as Basil Rathbone, Peter Cushing, Jeremy Brett, Ian Richardson. After this version there was a brother television version with Richard Roxburgh and Ian Hart as Holmes and Watson. There have been many German versions. There is also a 1981 Russian miniseries for television and an Italian version.

This film was made by the Hallmark Channel, designed for a very wide and popular audience. Matt Frewer is quite eccentric and fussy in his portrayal of Holmes – and for those who do not like it, there is the advantage that he is off-screen for most of the latter part of the film. However, he and Rodney Gibbons went on to make three more telemovies of Sherlock Holmes stories including A Royal Scandal and The Sign of Four. Kenneth Welsh, however, is very suitable and effective as Doctor Watson.

The basic story is streamlined but the essential elements are present, the origin of the legend of The Hound of the Baskervilles with Sir Hugo, Stapleton and his wife posing as brother and sister in order to hound the Baskervilles to their death, setting a hound on them with the scent of their clothes or shoes. Doctor Mortimer comes to London to engage Sherlock Holmes’ help. The Barrymores work for Sir Henry who has come from the colonies and Mrs Barrymore’s? brother is out on the moors. However, the film is more straightforward than subtle – and it is suggested that it would be an encouragement for audiences not familiar with Conan Doyle’s stories to read them.

1.The continued popularity of Sherlock Holmes? The Hound of the Baskervilles? The nature of the appeal – the moors setting, the hound itself, the myth and the curse of the Baskervilles?

2.The British settings, London, Baker Street, the travelling to the southwest, the moors, Sir Henry Baskerville’s home? The moors and the marshes? Atmospheric? The musical score?

3.The focus on Sherlock Holmes, as portrayed by Matt Frewer, in the tradition of screen Holmes? His appearance, his manner, eccentric way of speaking, fussiness, interactions with Doctor Watson? Poking fun at him, using him? His not appearing through most of the film, in disguise on the moors, final revelation, shooting the hound, the explanations? A satisfying Sherlock Holmes or not?

4.Kenneth Welsh as Doctor Watson, his initial analysis of Doctor Mortimer’s cane? Holmes proving him wrong? His listening in to the information, the meal with Doctor Mortimer, going to the Baskervilles’, looking after Sir Henry? His letters to Holmes? Observation, involvement? His resentment at Holmes for being used as a chained tiger?

5.The myth of the Hound of the Baskervilles? The flashbacks to Sir Hugo?, the swirling visual style? The woman’s escape, Sir Hugo’s death?

6.Sir Henry, his return after his uncle’s death, his uncle fleeing the hound in terror? Sir Henry as young, from the colonies? Adapting to England? The disappearance of his boot in the hotel? Its later use for the hound?

7.The arrangement for Doctor Watson to accompany Doctor Mortimer and Sir Henry to their home? Doctor Mortimer and his explanation of what was going on? His suspicions? His assistant, her relationship with Sir Charles, the issue of the divorce, the money, Stapleton persuading her to write the note? Watson persuading her to tell the truth?

8.The household, the Barrymores, their service, the legacy, Mrs Barrymore’s? brother on the moors, the need for food, his having Sir Henry’s? clothes, his being pursued by the hound to death? His mental state, Watson trying to exonerate him with the law?

9.The Stapletons, their history in schools, brother and sister, the naturalist? Friendliness, visits? The meal? Miss Stapleton and her anxiety, warning Sir Henry? Stapleton and his friendliness, his being crossed, the fact that Miss Stapleton was actually his wife? The cover? His plan with the hound, wanting the inheritance? The final confrontation with the hound and his death?

10.The resolving of the mystery? Holmes and the shooting, his disguise, the explanation? Miss Stapleton helping him? Watson and his amazement, resentment? Sir Henry and his gratitude?

11.The popularity of this kind of murder mystery, the popularity of Sherlock Holmes – and this film’s contribution?

ZONE 39

Australia, 1996, 95 minutes, Colour.
Peter Phelps, Carolyn Bock, William Zappa, Bradley Byquar, Alex Menglet, Jeff Kovski.
Directed by John Tatoulis.

A local attempt to make a serious futuristic drama where society and communication are dominated by faceless corporations. A lone soldier (Peter Phelps in a frantic and aggro performance) and his dead wife (brought back by hallucinogenic chemicals) do battle with the authorities out in the desert. More interesting in ideas than execution, although John Tatoulis has been able to create a credible and sometimes sinister atmosphere. Grim future.

1.Futuristic plot? Science fiction? Science fantasy? The influence of the Mad Max genre?

2.The desert locations, dry and hot, barren? The farming fields with the mines? The buildings for Central Union, civilization? Technology and surveillance? The zone outposts, the forts? The musical score?

3.The background of the drug, Novan? Leo and his using it for support, the picturing of his hallucinations, the presence of Anne?

4.The pessimism in the scenario: government control, unable to maintain it, the industrialists and their power, banding together, forming Central Union? Surveillance, data? The place of individuals? Society, wealth? Victims?

5.Leo and Anne, the happy couple, audience sympathy for them, Anne’s pregnancy?

6.Anne and her work, her skills, her challenge to Tito? Her decision about the information? Her death, the subway shooting? Leo, the news, his grief?

7.Leo, his friendship with Seaton, his situation, Seaton arranging him to volunteer? Going to isolation with his grief, Zone 39? Taking to Novan, recreating his memories? The enemy across the land, the stray people in the forbidden zone? His review of his life, his perspective on the decaying world?

8.The military zones, the outposts, Padgett and his staffing the enemy outpost? The change with Boas arriving?

9.Leo, using the drug, living in his mind, the questions about the situation, his world view unravelling? A new phase?

10.Padgett, Boas, Boas becoming an ally, the revelation of the truth? Going into action?

11.The message of this kind of futuristic science fiction film, critique of government and industry, surveillance and the Big Brother mentality?

NICK AND NORAH’S INFINITE PLAYLIST

US, 2008, 90 minutes, Colour.
Michael Cera, Kat Dennings, Aaron Yoo, Rafi Gavron, Ari Graynor, Alexis Dziena.
Directed by Peter Sollett.

Even the title, with its references to downloading, laying down record tracks and the I-Pod? culture, means some reviewers will be feeling a touch antique or out-of-date. This is a film about teens at the end of high school. Some of them have grown up (comparatively speaking) too fast and are on a track to alcoholism, promiscuity and burn-out before 20. So, this is a sometimes indulgent look at clubbing and its effect on the young.

However... Nick and Nora are not quite that type of teenager. Nora is a somewhat reserved daughter of a record company boss but does not make much of it. Rather, she keeps an eye on her disaster-prone school friend (depressingly, it is revealed they go to Sacred Heart school). Nick is a reserved nerdish type, who lays down tracks, especially for his fickle girlfriend, and is socially awkward while being able to be articulately straightforward opinions. He belongs to a band made up of three gay friends (of the partying variety).

This is one of those overnight stories where teens are looking for clues to find where their favourite band is playing. Along the way, misfortune, misunderstanding – and some reconciliation. The drinking girl goes immediately to binge, then goes to pieces, getting lost. Nora wants to find her. The band want to set up Nick with Nora. They lose the drunken girl. And so on.

Some of the dialogue is amusing, especially Nick and his observations on life. He is played by Michael Cera in the engaging dorkish manner he used in Superbad and Juno. Kat Jennings is good as Nora – but a bit hard to believe, given her appearance and obviously strong character, that she is so reserved and diffident.

The vagaries of a night on the town by teens who are not supervised or accountable – with some final touches, briefly, of hope.

1.A teen comedy? Its adherence to the genre? Using the conventions? How different?

2.The title and tone, the emphasis on music, iPods, the technology? 21st century?

3.New Jersey people, the Manhattan locations? The different worlds? Nick, at home, his love for music, editing and mixing, his being something of a nerd? Norah, at school, wealth, the world of clubs, streets, studios?

4.An overnight story – from some darkness into light?

5.The importance of the music, the various tracks, the sound, the atmosphere?

6.Michael Cera as Nick, in himself, age, the geek, at school, the long phone call to Tris, his awkwardness, in love, the playlist for her? His friends, the band, gay and his feeling isolated and lonely as straight? Their chatter? Their appeal to him to play, reluctance, finally accepting? The performance in the club?

7.Norah, at school, her friends, Caroline and her dependence? On the outer with Tris and the other girls? Their snobbery? Caroline and her drinking, her promising not to? Norah and her friendship and care for Caroline? Tris, haughty, dumping Nick, carrying on behind his back, throwing the CDs away, Norah finding them, listening, liking them?

8.The plan, Nick going out, performance, Norah and her relationship with Tal, her request that he be her companion, his reaction? The situation and their being together, going in his car – and the couple mistaking it for a cab and their behaviour, their paying?

9.Caroline, personality, at school, her promise, going out, drinking and the effect on her? Her disappearance? The group taking care of her, losing her? No money at the station, in the toilet, the phone calls, the battery going down? The gum?

10.The band, Where’s Fluffy? The advertisements, the radio clues, the huge following, youngsters trying to find the location, Nick and Norah thinking they found it, the wrong band and the MC and the apology?

11.Nick’s band, the van, taking Caroline, setting Nick up with Norah, losing Caroline, searching for her? Their personalities, interactions, humour? Camp style?

12.Tris, her personality, pursuing Nick because of jealousy of Norah, her having to walk home, stranded, the brush-off?

13.Norah and Tal, their relationship, his wanting the connection with her executive father?

14.The famous studio, Jimi Hendrix and the tradition? Nick’s amazement, the relationship with Norah, the sexual experience, the effect, the monitor? Their plans for the future – thinking about college?

15.Caroline and the texting, knowing where Where’s Fluffy was playing, Tad and Tris, Nick and Norah not being able to get in, leaving together?

16.A picture of teens? Real or not? The hyper-sexualised and affluent atmosphere? Hedonism versus responsibility? Any insights?

UNDERWORLD: RISE OF THE LYCANS

US, 2009, 92 minutes, Colour.
Michael Sheen, Bill Nighy, Rhona Mitra, Steven Mackintosh, Kevin Grevioux, David Ashton.
Directed by Patrick Tatopoulos.

To what can we lycan this Underworld adventure? The previous two Underworlds, of course. However, for this reviewer, unskilled in keeping track of the history of the age-old conflict between vampires and werewolves, this was easily the best and the most intriguing. The first two films had very complicated plots which required quite some ingenuity (or Underworld loyalty) to work out, especially as they showed the past intervening in the present and the battles taking place both in history and the now.

The screenplay for this episode is quite straightforward. It is set in what looks like a medieval era. The Vampires rule – in a dark world, of course. The werewolves are outlawed, brute beasts who prey on stray vampires and besiege the castle. From the earlier films we know that there are Lycans, a mixed breed of humans and werewolves. These are the vampire's slaves, even Lucian (from the earlier films) who has been allowed to live and grow up in the palace of the ruler, Viktor.

As the film opens, we become aware that there is something of a Romeo and Juliet situation here – Lucian is in love with Viktor's daughter, Sonja, a haughty warrior if ever there was one. Viktor is jealous of authority and power and is not pleased at all. This gives rise to a Spartacus situation, where Lucian leads the slaves to revolt, is freely trapped into returning to rescue Sonja but who calls on the werewolves to come to the aid of the Lycans. He is helped by the ambitious lord, Tanis.

This means that one can sit back and follow the plot, marvel at the monsters and special effects (the specialty in all the films of the now director, Patrick Tatopoulos). The film is brief and tends to move at quite a pace.

However, one of the great advantages of the film is the cast, a literate group of British actors who give some gravitas to the proceedings and who speak articulately and with power. Michael Sheen was in the previous films but that was before his Tony Blair and David Frost performances. He is now the star of the show, Lucian, something of a beefed up comic-book hero (except when he transmogrifies into a raging werewolf) who makes dignified speeches. And Viktor is played, once again, by Bill Nighy, relishing every moment and every word. Steven Mackintosh is Tanis and Rhona Mitra, after her warrior prowess in Doomsday, is Sonja.

Never fear. The sequel looks probable as you can't keep a bad vampire down (despite appearances to the contrary).

1.The popularity of the series? The vampires? The Lycans? Their struggle? This story being a prequel? The return to the history of Lycans and vampires?

2.The audience and their knowledge of this history of Lycans and vampires? The struggles in the past, the modern day stories?

3.The mediaeval setting for this film, the look, the castle, dungeons, the vast rooms for the council? The vampires and their court? The Lycans, the prison, the torture? The humans and their town outside the domain of the vampires? Travelling in the woods, the mountains? The cliffs?

4.A dark world, of night, of the vampires? The atmospheric score?

5.The special effects for the vampires, for the Lycans and their transformations? For the battle sequences?

6.The history of Lycans and vampires, their being related, immortals? The vampire council, ruling the kingdom? Viktor as head? His liking for Lucian, having him as a slave, working, developing other Lycans and breeding? The humans and their travel to the vampires’ court, bringing tribute? The Death Dealers and their defence of the vampire kingdom against the wild Lycans? Sonja as leader? The humans’ visit, the dangers in the forest, the tribute, the family, the attack? Lucian and the defence?

7.Sonja as strong, Viktor’s daughter, her spurning of Lucian in public, her love for him? Tannis and his spying on Sonja’s visit to Lucian? Using this information later, against Viktor, leading them to safety? Sonja and her being taken, Lucian removing his collar, transforming into a Lycan, saving her? Viktor’s vindictive reaction?

8.The life of the slave Lycans, Raze and his role? The humiliation, the work, Lucian being whipped?

9.Sonja engineering the escape, for Lucian, for the other Lycans, Raze going with them? The difficulties, the fight, the ambush and the deaths? Tannis and his role? Viktor’s reaction, condemnation of Sonja, her announcing her pregnancy? Lucian allowing himself to be captured, going back, Viktor condemning his daughter, his watching Sonja and the light and her death?

10.Lucian and Viktor, the relationship, the father figure, becoming enemies, the discussion sequences? The final confrontation, fight, Viktor being wounded?

11.The council, the advice to Viktor, dealing with the humans, dealing with the Lycans, the Lycans’ power and transformation?

12.The Lycans in the woods, in the wild, the confrontations with Lucian, Lucian and his vanquishing them, becoming their leader? Their fighting? The staging of the battles? The attack, the conquering of the vampires? Lucian and the beginning of the clan? The vampires hibernating?

13.The glimpse of Serena – and the reminder that this was a prequel? And the other films are set in modern times? A satisfying explanation of the Lycan-vampire mythology?

ESCAPE BY NIGHT

US, 1937, 64 minutes, Black and white.
William Hall, Anne Nagel, Dean Jagger, Steffi Duna, Ward Bond, George Meeker.
Directed by Hamilton Mac Fadden.

Escape by Night is a small-budget supporting feature. It focuses on crime in the late 1930s in New York.

Dean Jagger, in an early role, is the head of a racketeering gang. He is ruthless. Steffi Duna portrays his girlfriend. Ward Bond is one of the members of his gang. William Hall portrays a miner who has come into the city from Pennsylvania, rescues the girlfriend, is suddenly caught up in the life of the gang and has to flee after the head of the gang shoots an informer dead. The group then stay on a farm in the countryside – and undergo a kind of conversion experience. Anne Nagel is the leading lady, the daughter of the kindly blind man who lets them stay.

The film has a short running time, moves fairly quickly, establishes the crime scene, the lyrical life in the country, the dangers of exposure of the criminals, a bank robbery, and, in the brief final minutes, the hero rounding up the gang and calling the police.

The film was directed by actor-director Hamilton Mac Fadden. William Hall was an actor of the 1940s. Dean Jagger was to win an Oscar for Twelve O’ Clock High, best supporting actor of 1949.

1.A popular supporting feature? Crime? Crime not paying? Reformation? Exalting life in the country over life in the city? A popular theme of the 1930s?

2.The city settings, the streets, the apartments? The contrast with the countryside? The farm? The musical score?

3.The focus on Nick, his coming to the city, the mining background, opening horizons? His coming to Jo’s rescue? His being shot, the apartment, the confrontation with Capper? The rest of the gang? Their admiration for him? Their having to get out, the shooting? His going with the group in the car, the breakdown, his walking, finding the home, the encounter with Linda at the river, Pop and his blindness? Persuading them to take the group in? Their staying, his falling in love with Linda? The group farming and repairing the house? The idyllic time away from the city? The danger of exposure? Capper turning up, wanting them to leave? Pulling the gun on the criminals? The bank robbery, their being arrested? Nick and his escaping? His going to the hotel, pulling the gun on Capper and the gang, ringing the police? The American hero?

4.Capper, stern, ruthless? Treatment of Jo? Suspicious? With Nick, shooting the witness dead? Finding the group in the country, wanting them to leave? The bank robbery? The showdown and his being caught?

5.Spudsy and Red, helping Capper? Yet good-natured? Their background in jail? Supporting Nick, in the abandoned house, the dog bringing the rabbit? Moving in with the family? Spudsy and his cooking, looking after the farm, Red and the machinery?

6.Jo, tough, with Capper? Her helping Nick? Her not wanting to be at the farm, Fred and his arrival, Nick urging her to be friendly? Their falling in love? The chickens, wanting to stay in the country? Telling the truth to Fred?

7.Pop and Linda, the farm, Pop as blind, Linda not telling him the truth about the farm falling into disarray? His shrewdness? The details of life, over the summer? Falling in love? The truth about Nick?

8.Fred, the bank, the mayor? Love for Jo? The romantic scenes?

9.The bank robbery, the sheriff, the notice with the faces, Capper leaving the directions? The arrest, the trial?

10.Linda, her pleading with the authorities, saying that they had changed? Nick’s escape? But his redeeming himself? The happy ending?

11.Conventional but entertaining aspects of a gangster film?

THE GREAT COMMANDMENT

US, 1939, 81 minutes, Black and white.
John Beale, Morris Moskowitch, Albert Decker, Marjorie Cooley, Lloyd Corrigan, Warren Mc Collum, Ian Wolfe.
Directed by Irving Pichel.

In 1939 Rev. James K.Friedrich produced The Great Commandment, an 80 minute feature set in 30 AD and focusing on life in a small village ‘between Jerusalem and Jericho’ which was a centre for Zealots. It was directed by Irving Pichel and starred some Hollywood actors including John Beal and Albert Dekker. The American accents make the film seem too contemporary for non-American audiences as does some of the dialogue (‘Is this your idea of a joke?’). The musical score sometimes aniticipates the scores of Miklos Rosza for King of Kings. The film plays like an effective costume drama of the 1930s.

The initial information is about Pilate, his oppressive laws and imposition of taxes. The focus is on two brothers, one a hothead who wants revolution now and dies for it, the other a student of the scriptures under his authoritarian rabbi father who is looking for a strong leader. When he hears of Jesus, he imagines that he will have an army and rid the country of Romans. He journeys to Galilee, meets Andrew and listens to Jesus (especially texts from Matthew about taking up one’s cross as well as the Beatitudes). Jesus also heals a blind man. When Joel offers his sword and allegiance, Jesus tells him that those who live by the sword will perish by it. Befriended by Judas who persuades him that Jesus could be talked into revolt, he returns to his village where his father, sceptical and sneering asks about the greatest law and is answered by the parable of the Good Samaritan. This has a profound effect on Joel who, after the Romans massacre the zealots, puts Jesus’ teaching about loving enemies into practice by tending to the wounded centurion. The village is spared while Joel is interned for his own safety. When the centurion comes to free him, he has just put Jesus to death and is amazed that his life was saved by a disciple of the man he had crucified.

There is a romantic sub-plot which, after some tangles, leads to a happy ending. Jesus is not seen on screen. Rather, his preaching, healings and his parable are voiced off-screen by director Irving Pichel, because Joseph Breen of the Production Code raised difficulties with a full-on presentation of Jesus. Although made only twelve years after De Mille, it shows the strength of cinema techniques developed during the 1930s and is more akin to the 1961 King of Kings. Jesus has a strong and dignified enunciation (with the use of ‘thee’ and ‘thou’ language) and, although he is present only after an hour of the film, he and his message make an impact. The film was released in 1941.

1.A film of 1939? The cinema styles of the 30s? The transition from silent films? Accomplished film-making?

2.The sets, the Judean village of 30AD? The houses, the inns? The desert countryside? The musical score? The biblical rousing score?

3.The title, the focus on Hebrew law, the challenge of Jesus, the great commandment of loving one’s neighbour? The use of the parable of the Good Samaritan? The telling point for Joel’s experience and conversion?

4.The introduction, the information about Judea, the Zealots, revolution, the oppression of the Romans, the extra taxes, Pontius Pilate? The centurion, the soldiers, the occupation, gathering the village people, the demands for more taxes? The tax collectors and their sinister behaviour? The credibility of the Zealot revolt?

5.The Zealots in the village, Joel and Zadok, the different perspectives for action? Their father as the rabbi? His upholding the law? Zadok and his followers, wanting to move into action? Joel and his caution? Looking for a leader? The news about Jesus? Joel and his wanting to go, his meeting Jesus, listening to his message, his wanting to give his sword to Jesus? His change of heart?

6.The love story, Joel and Tamar, neighbours, their ordinary lives? Joel and his studies, his heart not in them? The fathers, the meeting, their discussion, bargaining about the dowry? Lamech and his decision that Zadoc should marry Tamar? His delight? Joel’s disappointment? His talking with his brother, defying his father? The meetings with Tamar, their talk, plans for marriage? His wanting to leave, Tamar and the clash with her father, wanting to go with him? His going alone?

7.The centurion, the treatment of the people, his sore feet and Joel’s advice about the water? The later repercussions? The centurion, his assistant and wanting to destroy the people? His careful response? Joel and his tending his wound? The village and their turning against Joel? The arresting of Joel, in prison, the centurion coming to see him, arresting him for his safety?

8.Joel and his going to Galilee, the first encounter with Jesus, the voice of Jesus, his words? Meeting Andrew, discussing with him? Witnessing the healing of the blind man? Listening to other teachings? Offering his sword, Jesus refusing? Judas and his approach? Giving advice? Wanting to change Jesus’ mind? The return to the village?

9.Lamech, the rabbi, his devotion to the law, teaching his son, the arranging of the marriage, his disowning Joel? His sneering at the news of Jesus? Jesus’ arrival in the village, his asking him the question about the law? Listening to the parable of the Good Samaritan?

10.The uprising in the town, the death of Zadok? Lamech’s grief? The hostility of the people towards Joel?

11.Joel in prison, the centurion, the news of Jesus’ death? The centurion and his amazement, his life being indebted to the teaching of the man whose side he had pierced? His arranging for Tamar to come to the prison, the freeing of Joel?

12.The happy Hollywood ending?

13.The portrait of Jesus, verbal? The decision not to show Jesus? The camera eye point of view? The dignity of Jesus’ words? A teacher rather than personalised? A perception of Jesus from the 1930s?

GO DOWN, DEATH

US, 1944, 56 minutes, Black and white.
Myra D. Hemmings, Samuel H. James, Spencer Williams.
Directed by Spencer Williams.

Go Down, Death was Williams’ religious film of 1944, from ‘the celebrated Negro author, James Weldon Johnson, of sainted memory’. He had made The Blood of Jesus in 1941. This is much more of a melodrama where a club boss plans to get rid of a devout preacher engaged to his cousin. The preacher has been condemning the club, so the boss sets the preacher up with three women who come into his house to tempt him (sex and alcohol) with two photographers also lurking. The boss’s mother supports the preacher and confronts the boss. She also prays, gazing at her late husband’s picture on the wall (to the accompaniment of ‘Nobody knows the trouble I feel’). The boss threatens her and she collapses and dies. (In the background of much of the film is Schubert’s Ave Maria.) There is talk, as in the previous film, of God’s will, being in God’s hands. At her funeral, people praise her, ‘God’s eye was on Caroline and God’s big heart was touched with pity’. In the aftermath of the funeral and quotations from the book of Revelation (to the accompaniment of ‘A Mighty Fortress is our God’), the boss hears the voice of his conscience challenging him and he goes berserk. He runs into a tree and collapses at ‘the Gates of Hell’. The film has some special effects of Satan devouring a sinner as well as re-creations of last judgment scenes with a finale of ‘Glory, glory, glory…, Merciful and Mighty’.

The theology here is very literal as is the reading of the scriptural texts but both films reveal that African American experience that embraced Christian faith during the slavery era but which still pervades so much of that culture.

1.The work of Spencer Williams and his religious films? The African American background? The target audience? The style of faith, expressions of faith? Music?

2.The black and white photography, the ordinary homes, the church, the bar? Realistic? The musical score?

3.The small budget, the commitment to making this film? The moral parables? The aim for instructing the audience?

4.The focus on death? The opening, the focus on the minister? His sermon and the film preaching?

5.The club, the music, Big Jim as the boss, the people in the club? The contrast with the crowd at church?

6.The minister, the women following him, talking, going into the house, the seductive behaviour, sex, alcohol? Sitting on the desk, the kiss? The preacher and his behaviour, urging them to read the Sermon on the Mount? The photographers, letting themselves in, catching the minister and framing him?

7.Big Jim’s mother, her looking after the minister? His fiancée being her niece? Her confrontation of the people, ousting them? Naming them as devils?

8.The minister, the support from Betty Jean? His edifying words, comment on human nature? His wanting to resign? God’s will and the hand of the Lord?

9.Caroline, her confrontation of her son, saying that she was coloured but not common? That he was common? The strong talk? Her looking at the picture of her dead husband, asking his help? The background of ‘nobody knows the trouble …’? The going to the safe, the background of ‘Ave Maria’?

10.The boss, his wanting to get rid of the minister, framing him? His thugs? The confrontation with his mother, the struggle? Her death?

11.The funeral, the comment on God’s eye being on Caroline, God’s big heart was touched by pity? God coming down to Savannah? The singing of ‘A Mighty Fortress is Our God’?

12.Jim, the aftermath, going berserk, hearing the voice of conscience? His running, his death?

13.The visual images, the gate of Hell, the Satan devouring a man? The voice? The eschatological images of those who had died? The theme of mercy? The glory of God and God’s mercy?

14.The purpose of the film, overt religion, African American style, participative, the music, the morality?

THE BLOOD OF JESUS

US, 1941, 57 minutes, Black and white.
Cathryn Caviness, Spencer Williams.
Directed by Spencer Williams.

In 1941, a film was produced by and for African -Americans. It was The Blood of Jesus. Written and directed by its star, Spencer Williams (who achieved some fame with his later television series Amos ‘n Andy), it was an attempt to make specifically religious films, moral and morale-boosting films, for its niche audience. Anyone who has seen any representation of an African -American funeral in a film will be familiar with the emphasis on the word of God, the preaching and the highly participative hymn-singing shown here.

The film opens with a sermon, processions and a baptism by immersion of the central character, Martha (Cathryn Caviness). She tries to persuade her husband, Razz Jackson (Spencer Williams), who has been out hunting to ‘get religion’. Tragedy quickly ensues as Razz puts down his gun. It slips and wounds Martha who has been contemplating a picture of the Sacred Heart hanging in the bedroom (to the accompaniment of ‘Were you there when they crucified my Lord?’. As she lies dying, there is talk of God’s will, miracles and her friends kneel by her bed (now to the accompaniment of ‘Give me that old time religion’. As she dies, we hear an organ and see processions of people walking towards the pearly gates. However, an angel dressed in white, with wings, appears at Martha’s bedside. She rises.

The main drama of the film is an interesting variation on a theology of death and judgment, that, as a person dies, they are confronted by the choice between good and veil, to make their life choice. Martha makes her way to the crossroads (with quotations from the Sermon on the Mount in the background). She is exhorted to walk clear of temptation and beware the hypocrisy of false prophets. But, Satan, appears (dressed rather ludicrously like a pantomime devil and performs accordingly which detracts somewhat from the life choices). A well-dressed man arrives to take care of Martha and a new dress and shoes. It is Judas who is commissioned by Satan, ‘Do your stuff’, as he cackles. The angel is still quoting Matthew’s gospel.

Martha goes to a club (with some extended scenes of dancing, an acrobatic dancer, some women of easy virtue putting cash into their stockings). Martha does not want to take a job in the club, which angers the boss. The beatitudes and the saying on the salt of the earth are heard as Martha looks at another picture of Jesus and prays, ‘May God have mercy on my soul’.

Martha is chased as she runs away (to the accompaniment of ‘Run, the devil’s behind you… leave him far behind’. At the crossroads she sees the sign with one way pointing ‘To Hell’ and the other ‘To Zion’. The sign becomes a cross and a crucifix figure appears. But, the voice of Jesus confronts Martha’s accusers with the words from John 8, challenging the innocent to cast the first stone. Martha crawls to the foot of the cross and prostrates herself (to the accompaniment of ‘Steal away to Jesus’). Drops of blood of Jesus fall on Martha’s face. She wakes, alive, feeling her face and gazing on the picture of the Sacred Heart. Razz and the neighbours rejoice (to the accompaniment of ‘The Good News’ Chariot’s coming’).

The contemporary poster claims, ‘A mighty epic of modern morals!’. While it is not that, nor is it so well acted or directed, but it signifies a great deal about African -American faith in these years and the perspective on Jesus’ love, forgiveness and the role of the Crucifixion and Jesus’ shedding his blood to save the human race. This strand of American film-making is not well-known and did not influence mainstream film-making.

1.The impact of the film in its time? Now?

2.Basic small-budget, acting style? The African American background? The target audience? A piece of cinema history?

3.The black and white photography, the locations in the south, the home, the externals at the river? The club? The special effects for the procession to Heaven? The musical score?

4.The hymn accompaniment? The negro spirituals?

5.The presentation of Martha, her relationship with Razz? Her being baptised? The other baptism and the minister? The sermon? The friends gathered at the river?

6.Razz, not believing in God, hunting? His wife asking him to get religion? The accidental shooting? His grief?

7.Martha, her dying? The women praying at her bedside? God’s will?

8.The appearance of the angel, the scriptural quotations? Martha rising from her bed? The discussion about religion, churches? The human race and faith?

9.The crossroads, one sign to Hell, the other to Zion? The warning to walk clear of temptation? False prophets?

10.The Devil, the comic style? His grin? Judas and his suit? The mission from Satan? The dress, the shoes, taking her to the city? The angel’s warnings?

11.The club, at the table, the dancing, the acrobatic dancer? Martha dancing? The girl putting money in the stocking? Martha not taking the job, the boss’s reaction, her weeping? The voicing of the Beatitudes? The picture of Jesus on the wall? Her prayer that God would have mercy on her soul? Her running away, the men chasing her? Coming to the crossroads again?

12.Satan, his taunting? The crossroads and Jesus on the cross, saying ‘Get behind me, Satan’? The conventional picture of the crucifix image? The questioning of the men as to what Martha had done? Asking them to cast the first stone? Their running away?

13.Martha crawling to the foot of the cross, the choir, the hymn, ‘Steal Away to Jesus’? The blood of Jesus dropping on her face?

14.Her waking up, touching her face? Looking to the picture of the Sacred Heart which had been so important to her early in the film? Razz discovering her, the neighbours coming? The Good News Chariot?

15.The happy ending – explicit religion, African American style, overt, music, demonstrative? The fact that this strand did not really influence American mainstream film-making?

THE KENNEL MURDER CASE

US, 1933, 64 minutes, Black and white.
William Powell, Mary Astor, Eugene Pallette, Ralph Morgan, Paul Cavanagh.
Directed by Michael Curtiz.

The Kennel Murder Case is the fourth film with William Powell portraying Philo Vance, a debonair New York detective. The films were based on novels by S.S. Van Dyne. Several other actors took on the role of Philo Vance including James Stephenson and there was a television series.

This is the period of Agatha Christie murder mysteries as well as those by Rex Stout, with Nero Wolfe.

The film is brief, sets up the murder situation, offers the audience a number of suspects, proceeds with the investigation and finally has a showdown revealing the murderer. The crime itself is reconstructed for the audience to see – especially because the dead man was shot, stabbed and beaten and found in a room locked from the inside.

The film is fairly basic but very enjoyable. William Powell was a popular actor at the time and was about to join with Myrna Loy as Nick and Nora Charles in The Thin Man films.

Michael Curtiz was born in Hungary, moved to Hollywood in the 20s and continued to direct until the early 1960s. He made tough films at Warner Bros and then made a range of popular films in the 1950s. He won an Oscar for best director for Casablanca, 1943.

1.An entertaining murder mystery? The style of the 1920s and 30s? Agatha Christie, Rex Stout …?

2.The brevity of the film, the range of suspects, the crime, the investigations, the reconstruction, the denouement?

3.The New York settings, the cityscapes? The interiors? The musical score? The opening scenes at the dog show?

4.The focus on Archer Coe, his clashes with everybody? The conflict with his brother who refused to speak to him? The clash with Sir Thomas about the dogs, the rivalry? His possessiveness towards his niece, Hilda, and her money? Raymond as his secretary? Gamble as his butler? Ilyang and the Chinese collection and the resentment about his selling it? Eduardo Grassi and the contacts for sales of his collection to Italy? His liaison with Doris? All potential killers?

5.The discovery of the body, the mystery of the room, the mystery as to what actually killed him? Everybody’s antagonism?

6.Philo Vance, debonair, at the dog show? His travelling to Italy? Coming from the boat, with Sergeant Heath, with the district attorney? The investigation (1930s style and fairly casual)? The coroner and his complaints about being taken from his meals? The forensic evidence?

7.The pursuit of the case, the various interviews? The reconstructions? Philo Vance and his hunches? Sergeant Heath and his obtuseness? The district attorney and his concerns?

8.The various suspects:

Brisbane, antagonism towards his brother, going on the train, the book of unsolved murders, his not arriving in Chicago, his return, his attempt to kill his brother, his engineering the locked room? The mistaken identity and his being killed?

Raymond, the secretary, dutiful, in love with Hilda, wanting to go with her? The revelation of his being the killer? The accidental death, his vengeance, mistaken identity in killing Brisbane? Stabbing Sir Thomas?

Sir Thomas, the dog, the killing of his dog, his love for Hilda, his being the main suspect? His being wounded? His window opposite Coe’s?

Gamble, the butler, not a long time in service, the revelation that he was a conman?

Doris, the liaison, breaking off, Coe letting her have the apartment? Her dog, following her into the house? Her admission of guilt? Her love for Grassi? Grassi, the Italian connections, his relationship with Doris, the interrogations, shady?

Liyang, not under suspicion, a possible suspect?

9.The attention given to details of building up the characters, the police, Philo Vance, the doctor, the various suspects? A satisfying cinema murder mystery?

MES AMIS, MES AMOURS

France, 2008, 99 minutes, Colour.
Vincent Linden, Pascal Elbe, Viginie Ledoyen, Florence Foresti, Bernadette Lafonte, Mar Sodupe.
Directed by Lorraine Levy.

What is the French word for ‘twee’? It needs to be used several times to describe some of the action and feeling in this very Gallic slice of romantic life – even though it is set in London.

London looks very good here –enough to do some effective touristic advocacy.

The plot is like many of those very French stories about problem relationships. However, some of the characters and their behaviour strain audience suspension of disbelief. It is very hard to accept the central character Mathias’s (Vincent Lindon) falling in love so ultra-rapidly with much younger TV journalist Audrey (Virginie Ledoyen) after she helps him with two bouts of vertigo. It is even harder to believe, even though the screenplay says so, that she could fall in love with him. He is, again the screenplay says so, an attractive middle-aged man. On the other hand, he shows himself moody, selfish, undependable, fickle.

His best friend Antoine (Pascal Albe), though obsessive and fastidious, is far more interesting and likeable. But then, at the drop of a computer key, Antoine falls deeply in love with the florist across the street who has had a thing for him.

Add to the ingredients, a cheerful, pot-smoking restaurateur (Bernadette Lafont) and an ambitious ex-wife. There is also an emotional funeral. When the two men and their children, one boy and one girl, aged nine, share a house, then the two children become precocious interferers in their fathers’ arguments.

It is French soap-opera with a strong cast, fine locations and a catalogue of improbabilities, French-style.

1.A popular French story? Romance? Variations on a theme?

2.The London settings, touristic London? The shop, the flats, the streets, the restaurants …? The familiar landmarks? The musical score – the range of songs, emotional, the romantic aspect commenting on the action?

3.The flashback formula, Mathias and Audrey, talking, reminiscing, Mathias’s story?

4.Mathias, his relationship with Valentine, the divorce? Her living in London, the daughter in London at school? Antoine and his intervention, the invitation for Mathias to come to London? Mathias in Paris, being late, the customer wanting the book, his being rude, his being sacked?

5.The character of Mathias, his age, loneliness? Coming to London, meeting the book-owner, getting the gift of the Wodehouse book, taking over? Sharing with Antoine? His seeing his daughter, taking her to school?

6.Antoine, his obsessive nature, separation from his wife? Looking after his son? Getting Mathias the job? The apartment?

7.Yvonne, her restaurant, listening to all her friends, their congregating at her place? Her manner with the children? With Sophie and the flowers? The renovation of her restaurant? Her smoking pot, her sudden death, the funeral, the reefer on the coffin?

8.Valentine, her ambitions, going to Paris, leaving her daughter with Mathias? Her boyfriend in Paris? The sexual encounters with Mathias? Yet her going off, her return, wanting to take up the relationship again? Failure?

9.Mathias, his work in the shop, Audrey wanting the book, his vertigo, her helping him? At school, the boy up the tree, his being stranded, Audrey helping him down? The dates? The credibility of her falling for him? His falling for her? The relationship, the discussions? Her work, the film, Mathias helping out? Her discovery from Sophie and Yvonne about the ex-wife, the daughter? Her seeing Mathias with Valentine? Breaking off? Her return to Paris, Mathias following her, the reconciliation?

10.Sophie, the flowers, Antoine ghost-writing the letters – really to himself? Sophie and her obsession with Antoine, his not noticing? The final discovery – credible on Antoine’s part?

11.The children, their friendship, playing together, at school, the mobile phones and effecting the reconciliation? Their attitude towards Audrey?

12.Antoine, his work, his rules, the plan to live as a family, the breaking down of the wall? The application of the rules? Mathias, self-centred, disregarding the rules? Antoine and his exasperation? The quarrel? The reconciliation?

13.Realistic figures – or the figures in a contrived romance?