NATIONAL TREASURE: BOOK OF SECRETS

US, 2007, 124 minutes, Colour.
Nicolas Cage, Justin Bartha, Diane Kruger, Jon Voight, Helen Mirren, Ed Harris, Harvey Keitel, Bruce Greenwood, Ty Burrell.
Directed by Jon Turteltaub.

When you’re on a good thing…, make a sequel. It’s much of the same as the very successful National Treasure. The principal cast are back plus Ed Harris as a villain and Helen Mirren as Nic Cage’s mother.

This is contemporary matinee escapism: adventures decoding documents, uncovering coded secrets and then, whoosh, into Indiana Jones territory and action.

National Treasure came out in the wake of The Da Vinci Code, taking another historical (and hugely questionable) hypothesis and comically going where it led. And one wonders why millions of readers believed the absurd and exaggerated theories of Dan Brown and would not dream of taking the hypotheses of the National Treasure films seriously. Clearly the latter are preposterous, entertainingly so. But, The Da Vinci Code!

After the family found the Templar’s treasure in the crypt of the church in New York’s Wall Street (because they were able to decode the message on the back of the Declaration of Independence which they were able to steal), they now need to clear the family name when an upright ancestor is implicated in John Wilkes’ Booths assassination of President Lincoln. Clues and codes? Clues on the side of the statue of liberty in Paris. Codes to be found in the desk of the queen in Buckingham Palace and the desk of the president in the Oval Office. This necessitates visits to England, a car chase through London, infiltrating the White House. A great opportunity was lost when the intruders into Buckingham Palace did not see Helen Mirren as the queen in a cameo!

The climax is at Mount Rushmore in the Spielberg vein.

Nick Cage, Jon Voight, Justin Bartha, Diane Kruger, Ed Harris and Helen Mirren all find themselves in all kinds of dangers and adventures. Nonsense, but enthusiastic derring-do nonsense.

1.A popular entertainment? Value of a sequel? Relying on the impact of the original?

2.The screenplay drawing on The Da Vinci Code, the history of the FBI, conspiracy theories, the death of Lincoln, the death of J.F.K? The Indiana Jones action adventure at the end? The combination of these ingredients?

3.Conspiracies and clues, evidence, the puzzle, the codes, the code mentality?

4.Washington DC, London and the car chase, Buckingham Palace, Paris and the Eiffel Tower, Mount Rushmore? The scope of the film? Exotic? The appropriate musical score?

5.The prologue in 1865? Gates, his son? Booth coming in, the code, solving the code? The assassination of Lincoln? The assistant and shooting Gates? Gates’ last words to his son, the key to the code? The Gates family pride? The evidence against Gates as being a conspirator? The diary, the missing pages, the family’s name in disrepute?

6.Ben, the lecture, his relationship with his father, his reputation? Mitch Wilkinson and the attack? The threat? Talking to his father, his father’s memory of his grandparents, the proof?

7.The tension between Ben and Abigail, Abigail and her going out with Connor? The White House connection? Riley Poole and getting into the apartment, caught? Deciphering the code, the computer evidence, looking at the diary? The indications to go to France? The builder of the Statue of Liberty?

8.Patrick, the attack, Wilkinson’s henchmen? Taking the cell phone? Spying on him? Wilkinson and his background, his henchmen, the guns, listening in, the pursuit?

9.Ben and Patrick going to France, the statue, the helicopter, photographing the code, the police, the translation, the cab?

10.Audience sympathy with Ben, Ben as earnest, his skills, talking to people, estranged from Abigail, loyal, his dependence on Riley?

11.Riley, his place in the original store, writing his book, the signings – and failure? His car being taken? His computer skills, hacking in? His nerd personality?

12.Buckingham Palace, Abigail’s arrival, the British style, the tour, the argument for the diversion, going into the queen’s office, the desk and the panel, the manoeuvres for the escape, the car chase through London? The photo on the road cameras? Throwing the code into the Thames?

13.The decision to go to see Emily, Patrick and Emily separated for thirty-two years, the reasons for their clashes, her work in translation?

14.Connor, his attraction towards Abigail, allowing them into the White House? The visit, the tension, Abigail pretending to lose her earring? Ben and his being absent, getting the information from the desk? Riley, the revelation of the secret book?

15.The social, Ben and his skill in getting in, meeting the president, offering him architectural information, the president going, trapped, the discussion about the book, the pursuit, the information? The escape? The president and his hitchhiking with the truck?

16.Agent Sadusky? His work, the past, friendship with Ben, information, pursuit?

17.Wilkinson and his going to Emily, the cover, translation? Information about Mount Rushmore and the city of gold?

18.The city of gold, the history, the pre-Columbian treasure? The documents? The visuals of Mount Rushmore? The city – the traps, the balance, escapes, heroics? Wilkinson and his self-sacrifice?

19.The treasure, Emily and the cataloguing of it?

20.The president, the FBI? Ben and the rehabilitation of his family, the medal?

21.The popular combination of conspiracies, imagination, American history, what if?

STREETS OF LAREDO

US, 1949, 93 minutes, Colour.
William Holden, Macdonald Carey, Mona Freeman, William Bendix, Stanley Ridges.
Directed by Leslie Fenton.

Streets of Laredo is a standard western. It was written by Charles Marquis Warren who was to direct a number of similar films during the 1950s. It was directed by Leslie Fenton, British-born actor from the 1920s in Hollywood, director for about ten years from 1938 to the early 50s. His films include Saigon, The Redhead and the Cowboy, Whispering Smith.

The film is about outlaws in Texas in the 1870s. William Holden, Macdonald Carey and William Bendix are a genial trio of stagecoach robbers. They encounter Mona Freeman, a rather feisty young woman whose uncle has been killed by men who collect money for protection. As the film progresses, Macdonald Carey stays an outlaw. The other two become Texas Rangers and finally there is a confrontation between William Holden and Macdonald Carey.

Typical of the western films made at Paramount during the late 1940s, William Holden was emerging as a popular star during the 1940s. The other three players were contract players at Paramount.

1.A popular western? The title? The song? The traditional song? The song created for the film?

2.Texas, the 1870s, outlaws, stagecoach robberies? The law and the Texas Rangers? Cattle protection thieves?

3.The initial hold-up, Wahoo and his being on the coach, Jim and Lorn and the robbery? Their encounter with Charlie Calico? The homestead, the cattle being taken, the encounter with Rannie? The friendship? Taking her to Pop? Lorn and his pretending that the old man was his father? Rannie settling down? The other three going on their way?

4.Lorn as an outlaw, the robberies? The mastermind? His disappearing for two years? His reappearance, plans, friendship with Rannie? The change with Jim and Wahoo?

5.Jim, his past story, sullen? Friends with Wahoo? Admiration for Lorn? The strong emphasis on friendship? The Texas Rangers? Their finding the cattle, bringing them in?

6.Their becoming Texas Rangers, the dilemmas with Lorn? The contact with him? The attempted robberies? Their taking him in? His being in prison, the plan to let him escape? His taking over, knocking them out? The reaction of Major Bailey?

7.Rannie, her work in the office, her friendship with Lorn, Jim? At Pop’s house – and his death? Her turning against Lorn?

8.Jim and his resignation, arrest? Wahoo and his ambition to take in Lorn? The talk, Lorn shooting him? Rannie’s dismay?

9.Jim, Major Bailey sending him out to get Lorn? The confrontation, Lorn and his shrewdness, listening in to messages? In town? Going to have a drink? The confrontation, Rannie shooting him?

10.Rannie, a girl in the west, feisty, feminine? Settling down, growing up? Her friendship with Lorn, her disillusionment with him? Love for Jim?

11.The standard ingredients of the western? A tribute to the Texas Rangers?

ROCKET SCIENCE

US, 2007, 101 minutes, Colour.
Reece Thompson, Anna Kendrick, Nicholas D' Agosto, Vincent Piazza, Margo Martindale, Aaron Yoo.
Directed by Jeffrey Blitz.

Rocket Science is riding on the fact that Jeffrey Blitz made that delightful and frightening documentary Spellbound, the film about the national spelling bee competition and its effect on the contestants and their families. Blitz won the directing award at the Sundance Festival. This time the subject is junior debating and the film is a fiction rather than a documentary.

Many audiences will concentrate on the adolescent story, the focus on Reece Thompson as Hal Hefner who is a moody young man, clashing with his brother, saddled with a huge stuttering problem. Meanwhile, we see a number of high school students who are as dedicated to debate and preparation and delivery as were those young spellbound contestants. And the pace at which they deliver seems just too much, too fast to make debating sense: speed for speed’s rather than intelligence’s sake.

When a driven girl, frustrated at the champion surrendering the trophy that she coveted, picks Hal to be her associate, it is clear that there is trouble in store. He is clever but stuck on enunciating his words. He is also love-struck.

The audience around me was obviously very taken with Hal and his misadventures. I was wanting to do the same but found I was not drawn into the film. It’s not the subject, though watching such competitive kids become even obsessive can be wearing as well as their so breathless to be meaningless style. I think it was Hal himself. Reece Thompson did a very good job in performance but his belief that he could debate, his oddball work with a coach to help him get over his impediment, the cantankerous atmosphere in the house and the smug win-at-all-costs girl did not really appeal.

1.The appeal of the film? Teenage life? Verbal disabilities? Overcoming disabilities? The value of debate, training for debate, verbal skills, mental skills?

2.The film based on the experience and life of the director? Authentic – although seeming not so credible at times?

3.The title, the final reference by Hal to love, family, spoken to his father? Hal’s needs?

4.The nature of student debate in the United States? Its style? Sharpening the mind, raising issues? The speed of delivery? The brief summaries? Questions, adversaries, opposition? The effect on the teenagers? Their skills? Superiority in those who were skilful? Others being overwhelmed?

5.The voice-over, describing Hal Hefner’s life, crises? The tone?

6.The New Jersey settings, the homes, families, parents, marital break-up, new partners, the children and the effects? Schools? The streets? The debating forums? The jaunty musical score?

7.The opening debate, Ben and his skills, speech, stopping? Ginny and her ambitions, her cups? Aghast? The winners and their joy? Ben leaving, going to work in the dry-cleaners? Ginny beginning to scheme?

8.The focus on Hal, his age, personality, stammer? At home, the meals, his brother? Relationship to his father and mother? Their fighting? His father leaving, final speech? His needs? The voice-over linking this experience to Ben’s failure at the debate?

9.The judge and his moving in, the effect on Hal’s mother, Heston coming in as well, their clashes, Heston stealing, his father’s applauding him? The discussions between the young men?

10.Ginny, her character, her music-playing parents? Her decision to recruit Hal? Talking him into the debating group? Hal later learning the truth from Coach Lumbly that she had recruited many disabled people? The effect on him, his wanting to be in the group, preparing speeches, themes? His embarrassment, leaving? His kissing Ginny? Her abandoning him?

11.His personal training, the voice coach, whispering, accents etc?

12.His research, believing Ginny, his stammer, the failure, walking out, in the closet, embarrassment?

13.The decision to go to Ben, working with Heston? Other members of the group? Finding him, discussions, persuading him to come back, the research, the role of the coach?

14.Heston, wanting to be part of the team? Coach Lumbly, the training, travelling, the debate interviews, the hopes?

15.Ben, his failure, going to the dry-cleaners, friendship with Hal, the defeat of Ginny, the final debate, its effect?

16.Hal’s father, coming to pick him up, the frank talk about love – and love not being rocket science?

17.Hal, the gawky young man, learning, experiencing change?

ALIENS VS PREDATOR: REQUIEM

US, 2007, 93 minutes, Colour.
Steven Pasquale, Reiko Aylesworth, John Ortiz, Johnny Lewis, Robert Joy.
Directed by Colin and Greg Strause.

Aliens – bad. Predators – good. Victims – humans.

In Alien versus Predator in 2004, film-makers drew on the popular series of Alien films as well as the less distinguished Predator films. The two strange monstrous groups engaged in battle in the Antarctic with collateral damage for humans.

This special effects dominated sequel re-runs the same basic plot except that the attack is in Colorado and (with the help of the IMDb synopsis outline rather than the confusing film itself much of which occurs in the dark) aliens come to earth, destroy all but one predator who then tries to turn the table on the aliens who are infiltrating humans, killing them off as well as doing multiple repeats of that famous scene in the original Alien where the monster emerges from John Hurt’s stomach.

There is a group of less than interesting humans along with a poor sheriff who is trying to make sense of what is happening. But, this is one of those films where nice people (and children and a pregnant mother) are attacked by the aliens not just the nasty characters.

Lots of special effects (this has been the previous career of the two brother directors), some shock editing and a rousing highly orchestrated score. It is really only for those obsessed with this kind of science fiction.

1.The popularity of Alien and its series? Predator and its series? Capitalising on the classics and making B-budget action adventures fro the 21st century?

2.The importance of the special effects, space, the spacecraft, the makeup and design of the aliens, of the predators? The crashes? The confrontations with the aliens, deaths? Blood and gore?

3.The intended audience for this kind of film? B-budget? Poor acting? Plotting? The importance of the confrontations and special effects?

4.The Colorado setting, the town, the outskirts, the woods? Authentic? The contrast with outer space? The world, spacecraft? The musical score?

5.The human characters: Dallas and his return home, his past, his relationship with Ricky, Ricky and his studies, in love with Jesse, working at the pizza place, his relationship with his brother? Jesse and her teaming up with the group, their bashing Ricky? The role of Sheriff Morales, his keeping order in the town? Kelly and her husband, the child? Her return from military service?

6.The aliens coming to Earth, transforming, the death of the father and son in the woods? Their further killings? The confrontation with the wife of the policeman, his death? Her death? The pregnant woman in the hospital?

7.The aliens, the makeup, their hostility? The destruction of the predators?

8.The predators, the makeup, the attack from the aliens, the survivor, becoming invisible, reappearing? The fight with the aliens?

9.The humans, the hospital, the car? The popular ingredients for this kind of group of survivors? The menace?

10.Colonel Stevens, the military, the National Guard coming in, the destruction?

11.The final confrontations between alien and predator? The special effects?

12.The value of this kind of film – the old-style B-budget films of the 50s given a 21st century makeover?

CHARLIE WILSON’S WAR

US, 2007, 97 minutes, Colour.
Tom Hanks, Julia Roberts, Philip Seymour Hoffman, Amy Adams, Emily Blunt, Om Puri, Ken Stott, Ned Beatty.
Directed by Mike Nichols.

It is difficult to know what to make of Charlie Wilson’s War. For the Golden Globe awards, it was listed under comedies. While there is some verbal repartee, it is not exactly an overall comedy. In its picture of a ‘good-time Charlie’ congressman who gets himself involved in the Afghan struggle of the 1980s against the Russians, it presents as a kind of hero or anti-hero a man who did deals for upping the budget appropriations for covert operations to defeat the Russians. Admirable? Despicable? Hero? Patriot? American who acted self-confidently according to the national doctrine of ‘manifest destiny’, guilty of a huge presumption?

Tom Hanks has developed a screen personal of the upright American, so it is more than a bit disturbing to see him snorting cocaine in a jacuzzi full of strippers and receiving the highest award from the organisation of covert agencies. Julia Roberts can act Brockovich-tough, but who is this wealthy Houston woman who takes up an interest in the Afghans and pressures legislators and donors behind the scenes, declares she is a born-again Christian but whose behaviour gives born again a double standards name? These are very ambiguous characters, of ambiguous moral stances, who are seen as the true anti-communist patriots – which may justify everything.

So, this means that Mike Nichols’ film is quite unsettling. And, with Philip Seymour Hoffman giving another of his outstandingly different performances as a disgruntled CIA operative who finds a cause worth manipulating for in Afghanistan, it is even more unsettling.

Clearly, we are meant to be thinking about American policy in both Iraq and Afghanistan post-September 11th, and that makes the film more disturbing. What is going on now? Covert and overt? We have seen Redacted, Rendition, In the Valley of Elah and, especially about Afghanistan, Lions for Lambs.

At the end, the CIA agent warns that with the retreat of the Russians in 1988 after the American-supplied arms brought down so many Russian planes and helicopters and destroyed so much artillery, that mad crowds were coming into Kabul. Charlie Wilson suggests a modest appropriation for building schools in Afghanistan but the DC powers that be have lost interest in the country and in the people. And, so, enter the Taliban.

I hope Charlie Wilson’s War is not passed over as an American comedy. Its themes are far too deadly for that.

1.A portrait of American foreign policy in the 1980s? Covert operations? Congress and the appropriations? The parallels with the war in Iraq? The impact, history, retrospect, learning?

2.The framework, the decoration to Charlie Wilson, for covert operations? The information about the Soviet Union, its collapse? Charlie Wilson’s contribution to the change?

3.Tom Hanks as Charlie Wilson? A more ambiguous role for Tom Hanks? In the Congress, representing East Texas, his character, the playboy, alimony, cocaine, in the jacuzzi with the strippers, watching the television, the discussions about the television series like Dallas, the producer and his pressure, the playboy style, the background of the arrests and charges, his getting off? His type, flip and one-liners? His staff and their loyalties, Bonnie, her earnestness, the glamorous girls and their style?

4.His interest in Afghanistan, wanting to listen to the television, Dan Rather and his presence undercover in Afghanistan? How serious a politician was he? The constituent and the issue of the crèche, his daughter, Charlie discussing the situation, the possibility of moving the crèche? Having sex with the daughter?

5.His earnestness, how much was his initiative, how much was he being used? The role of the CIA at this time? Gust and his influence, persuasion? Joanne, socialite background, wealth, her influence, pressures, the consequences?

6.The anti-communist stances, covert CIA operation, the small budgets becoming large budgets, pressures on Congress personnel, the deals behind the scenes, the role of the staffs, Charlie and his getting membership of the Kennedy Centre, the right-wing perspective? Anti-communist and not pro-Afghan?

7.The role of Pakistan, President Zia, the execution of Bhutto? The refugees pouring in from Afghanistan? Zia, the discussions, his generals, Charlie and his gaffes, his having to learn diplomacy? Zia and his visit to Joanne, her hosting him? Her comment about his not murdering Bhutto? The tough talk, the visit and the banquet, Pakistani politics and alliances? The alliance with the US?

8.Political advisers, the Cairo meeting, the role of Israel, the Saudis? Talks with Israel behind the scenes? The deals, the Saudis matching American money? The budget increases? From five million to a billion?

9.Doc Lang, (**IMDB: LONG) his talk, ignorance? Joanne’s invitation, the religious motivation? The visits in Afghanistan, seeing the children, Doc Lang’s mood, his speech, his son being killed in Vietnam? Attitude towards the communist? His feeling good – with God on his side?

10.The character of Joanne, her life, the absent husband? Born-again Christian? Power with God on her side? Her sexual behaviour, the liaison with Charlie Wilson? Considering the Playboy strippers as sluts? Her phone calls, going to Afghanistan, the reasons for her interest? The influence on Long? Her sense of achievement?

11.Gust, the CIA, his long career, in Finland, his anger with the head, smashing the windows? Jobs? Involvement? Meeting with Charlie Wilson, their getting on together, his blunt manner of speaking, the sexual innuendo with Joanne? His style? Stirring?

12.The appropriations, the statistics of the 80s, the information and names and dates, the destruction of the Russian weapons, the helicopters, their being shot down? Victory, the Russian retreat?

13.Charlie Wilson’s achievement, for good reasons or bad?

14.The warning by Gust, the crazies going into Khabul? The issue of rebuilding schools and rebuilding Afghanistan?

15.The lack of interest in the development of Afghanistan, not giving the appropriation, leaving the Taliban, leaving Afghanistan in a mess? Post-9/11 bombings of Afghanistan and the 21st century consequences of these policies?

16.The tone of the film, drama, comedy, satire? American beliefs, self-confidence, achievement? The abandoning of countries after going in militarily? The pattern of the 20th century? The 21st century?

THE SIMPLE LIFE OF NOAH DEARBORN

US, 1999, 95 minutes, Colour.
Sidney Poitier, Diane Wiest, Mary- Louise Parker, George Newbern, Bernie Casey.
Directed by Gregg Champion.

When Sidney Poitier was 71 he made this pleasing film for television, The Simple Life of Noah Dearborn. It is a film about a good man, and making a film about goodness is a very difficult task. Drama is the conflict between good and evil, and evil is generally fascinating for us all. There is conflict in this film so it works well as a drama. It is just that the figure of goodness, Noah himself, played with great dignity by Sidney Poitier, is such a strong and admirable character.

This performance from 1999 reminds us of the role that Poitier himself played in bringing African American characters to the screen when this was something the Hollywood studios were not so ready to do unless the performers played maids or were comedians. It was in 1950 that Poitier starred in a serious drama, No Way Out. He was one of the students in the controversial Blackboard Jungle in 1954. If you wanted to see a fine early Poitier character, A Man is Ten Feet Tall (1957) is very impressive.

But it was his Oscar-winning role in the 1963 Lilies of the Field, a builder putting up a church for some nuns who had escaped from East Germany, that brought him to greater attention, winning the Academy Award for the year of Civil Rights demonstrations, the march on Washington and Martin Luther King’s ‘I have a dream’ speech.

Most will remember his peak in the mid-1960s with the genial teacher of To Sir, with Love, the unexpected guest in Guess Who’s Coming to Dinner and the strong detective of In the Heat of the Night. These were roles that consolidated the screen presence of African Americans. The Academy honoured his life and career in a special Oscar in 2001.

A lot of the qualities of his popular films can be found in The Simple Life of Noah Dearborn.

Noah is aged 91. He certainly does not look it and his vigour in his carpentry work and his generous labour for townspeople belies his age. But, it is the end of the 20th century and the key word is ‘development’. Noah is about to become the victim of corporate greed, younger lawyers working for investors who want to buy his land, inherited from his father, and set up a shopping centre. This has been a favourite theme for many films, the ‘little person’, the underdog who holds out against the business giants and their pressure.

When Christian Nelson (George Newbern) wants to oust Noah from his land because of mental incompetence, he sends his psychiatrist girlfriend, Valerie (Mary-Louise Parker) to visit him and make an assessment. Noah sees right though her. But, she is charmed and returns again and again to ask him questions. We, the audience, discover more about Noah and his simple life along with her.

Born in 1908, Noah loses his parents during his teen years but is mentored as a carpenter by his uncle and friend, Silas. The film provides a number of flashbacks so that we see and understand Noah better, especially in his talent as a carpenter and Silas’s advice to focus and concentrate on his talent.

The consequence is that he has lived alone, working hard during the day, sleeping at night (he has no electricity), never relating deeply to anyone. Through this simple life he has survived. He is a man of respect, responsibility, generosity, all trustworthy qualities. The townspeople have trusted him with their buildings and their repairs.

Ultimately, he is touched by Valerie’s concern and help. While he has experienced friendship, especially with the café owner, Sarah (Diane Wiest). It is through his time with and his concern about Valerie that he learns a little about love.

There are many warm moments in the film but the cast avoids sentimentality. In fact, Valerie tells Noah it is all right to be angry and, to our amazement, he does burst out unexpectedly. The evil is represented by contemporary greed and a belief in progress at any cost. The simple life gives the lie to this way of business and exploitation, especially of people’s lives and values.

Noah is a good man. Sarah says that the townspeople’s opinion is that, if God were to go on holidays, he would stay with Noah.

1.The appeal of the film? A film about goodness? Goodness versus evil?

2.The Georgia settings, Noah’s property, house, the interiors made by himself, the streets and the countryside, the town, the diner? The contrast with the law offices, psychiatrists’ rooms? The musical score?

3.The title, Sidney Poitier as Noah Dearborn? Aged ninety-one, people not believing this, looking up the records, seeing the photos, his contribution to building the town? The repairs?

4.The flashbacks, Noah as a boy, with his parents, his mother’s care for him, his father’s illness and death? Silas as his uncle and friend, training him in carpentry, his continued focus, Silas’s advice about his talents, shutting out everything else? The fire, Noah finding his mother, carrying her out, her death?

5.The influence of Silas, Noah going to his grave? His keeping to himself, his keeping busy, not having time for relationships, some friends in the town, Sarah and her crush on him? The time that he had the dog, but not touching it? His regime, continued work, not having electricity, working during the day, sleeping during the night?

6.Christian Nelson, his board, wanting the land, their discussions, George and his money offers, Noah rejecting them? Robert Murphy going down, helping chop the wood, his change of life and pace, resignation, going to California to make wine? Noah and his asking him why he didn’t do what he wanted to do? Christian and his relying on Valerie, getting her to go to see Noah? Her reaction, his being hurt, in a huff? His bringing in the bulldozers, his being confronted by Valerie? Ultimately having to give in and move his project elsewhere?

7.Noah, the encounter with Christian, with Robert Murphy, seeing through Valerie? His response to her visits, answering the questions, the flashbacks, his simple explanation of his way of life?

8.Valerie, her clients, her love for Christian, going to see Noah, her lies, Noah’s reaction, her change of heart? Going to see him, travelling with him, visiting the people to whom he gave food and repaired the door, meeting Sarah? Sarah’s hostility towards her? Her being upset when Noah was taken away, getting the information, going to the hospital, taking charge of him, returning him to his home?

9.Noah, the authorities coming to take him, Christian’s machinations? In the institution, locked in, the interrogation, his answers, telling the inquiry that they were not polite? His wanting to leave? Valerie taking him away? The effect on him? The noise of the bulldozers bewildering him?

10.Sarah, reconciliation with Valerie? The pie, their talking together? The bond between Sarah and Valerie and Noah?

11.The changes, Noah being left on his own?

12.The battle between the corporate giant and the individual? The strong stand of the individual? Noah as a good man, a righteous man?

13.Valerie, her accident, George and the reaction, Noah and his anger, justified, punching Christian? His talk to Christian in the hospital? Visiting Valerie, the tenderness, hoping she would be well? Sarah present, Noah and his being touched by love?

14.The future, friendships, the gift of the dog, reading the books? A dignified old man, full of respect?

WHIRLPOOL

US, 1949, 98 minutes, Black and white.
Gene Tierney, Richard Conte, Jose Ferrer, Charles Bickford, Barbara O’ Neil, Eduard Franz, Constance Collier.
Directed by Otto Preminger.

Whirlpool was co-written by celebrated playwright Ben Hecht. It was directed by Otto Preminger who had emerged as a significant director in the mid-1940s with Laura and Forever Amber.

Gene Tierney had starred in Laura and was one of the key Hollywood stars between 1940 and 1955. Richard Conte is an unlikely candidate to be her psychiatrist husband. He seemed more at home in playing offbeat characters and criminals. Jose Ferrer, at the beginning of his career in Hollywood, the same year as his Dauphin in Joan of Arc and winning the Oscar the next year for Cyrano de Bergerac, is the quack hypnotist. Charles Bickford is reliable as the detective.

The film focuses on psychoanalytic practice of the time, the use of hypnotism, authentic psychiatrists as well as quacks. The film is something of a psychological drama – and climaxes rather melodramatically.

1.A film of the 40s? Psychology? Relationships? Deceit?

2.The black and white photography, the Los Angeles locations, the stores, homes, hotels, police precincts? The musical score?

3.The title, Ann Sutton’s experience, the emphasis on hypnotism?

4.The portrait of Ann Sutton, being accosted outside the store, her denial, in the store, stealing the pin, kleptomania, Doctor Korvo and his intervention, the bill being paid on the account, her being free? Her not wanting to tell her husband? Her love for her husband? On edge at home? Wondering what was wrong with her? The phone call from Korvo, the appointment, her presuming that he was blackmailing her, writing the cheque, his tearing it up, her apology? Her going to the party with him? The encounter with Terri Randolph and the clash, Mrs Randolph’s? warning? Korvo hypnotising her, urging her to sleep, her refusal to touch his hand? Her sleeping, going to his hotel, not going to his office in his room, her willingness to have treatment? His setting her up, the broken glass, his stealing the glass with her lipstick, the phone call? Her being hypnotised, going to Mrs Randolph’s house, discovering the body, her arrest? Her not being able to remember anything? Detective Colton and the interrogation? Her husband coming from his meeting, not believing her, wanting to believe her? The interrogation, being taken to the house, her beginning to remember, the taking of the records, the confrontation with Korvo? The happy ending?

5.Korvo, his skills in getting money from women, meeting Ann, going into the store, defending her, manipulating the manager, his wife being a client, tearing up the documents? His phone call, his self-righteousness, Ann’s suspicions of him, his answering them? Taking her to the party, with Tina, his talking about Count di Ravallo’s condition (and later revealing that he had learnt most of this from Tina)? A conman? The hotel, his office, Ann not wanting to go, the discussions with her? The benefit of the hypnosis? His setting her up, his going to hospital, the operation, self-hypnosis, the murder? Interrogation by Colton, the confrontation with Bill Sutton? His injuries, going to the house, trying to get the records, listening to them, his being confronted, his bleeding to death?

6.Bill Sutton, the psychiatrist, loving his wife, not realising the demands he made on her, her inability to tell him the truth about her kleptomania, at school, her father and his hold over her, Bill paying all the bills and repeating the pattern of the father? His going to San Francisco, return, the interrogation, his coming to his senses, talking with Korvo, wanting to take Ann to the house, the slow results?

7.Detective Colton, experienced, on the job, the interrogation, wanting the facts, wary about going to the house, his relenting? Talking with Korvo?

8.Theresa Randolph, her relationship with Korvo, her changing psychiatrists, the disc, the revelation of the truth about Korvo getting the money from her, her wanting to give it back to her daughter, his murdering her?

9.The lawyer, his help? Tina and her parties? The count and his girlfriend? The social setting of New York?

10.Psychiatric theory and theories about hypnosis at that time?

THE GHOST AND THE DARKNESS

US, 1996, 109 minutes, Colour.
Michael Douglas, Val Kilmer, Tom Wilkinson, John Kani, Bernard Hill, Brian Mc Cardie, Emily Mortimer, Om Puri.
Directed by Stephen Hopkins.

In darkest Africa, 1898, rogue lions (called the Ghost and the Darkness) savage workers on a railway line construction. The engineer sent from England is brave, but cannot defeat the lions and workers' fears. Authorities send in American big game hunter and together they confront the lions. Val Kilmer is good as the engineer and Michael Douglas looks like his father as the hunter. The film looks spectacular at times with the location photography. Some of the sequences with the lions are quite frightening but, while the film has a lot going for it, it does not stay in the memory as a great adventure.

Tom Wilkinson appears as the employer, Bernard Hill as the doctor, John Kani as the supportive African and Emily Mortimer as Kilmer’s wife (who is involved in a nightmare sequence with the lions). Direction is by Stephen Hopkins (Predator 2, Blown Away, Under Suspicion, Life and Death of Peter Sellers).

1.An entertaining film? Impact? History? Horror?

2.The African locations, the beauty of the open spaces? His historic circumstances and the building of the bridge? The African towns? The contrast with London, offices, societies? The musical score for atmosphere?

3.The lions, the real lions, the special effects and animatronics? The combination – for realism, for terror? The title and the reference to the lions?

4.The film based on actual events and characters? John Patterson, his history in India, building bridges in the 1890s? The atmosphere of empire? His going to the office, the commission to build a bridge in Africa? The discussions with the head of the company, his seeming friendliness, his argumentativeness, being demanding? Robert Beaumont?

5.John and his relationship to Helena? Her pregnancy, expecting to return for the birth of his child? Taking up the challenge and the time limits for the building of the bridge?

6.Patterson going to Africa, his love for Africa, his meeting Samuel? The welcome, the men, the commission, the terrain? The beginning of the bridge-building? Progress? The Arabs and the workers? Abdullah as leader?

7.The introduction to the lions, on safari, John Patterson and his shooting a lion with a single shot? His reputation?

8.The ghost and the darkness, their beginning to menace, seen and unseen? The ravages on the various victims? The widespread killings? The hospital? Doctor Hawthorne and his trying to cope? Patterson and his concern about the building of the bridge? Samuel and the information and advice? The Arabs wanting to leave? The confrontations with Abdullah, Patterson taking a firm stand? The bridge unable to continue because of the menace of the lions?

9.Charles Remington and his arrival? The great white hunter appearance? The history of Remington and the civil war, the loss of his family? Hunting in Africa? His reputation, his confrontation with Abdullah, saving Patterson? His taking charge?

10.The hospital, his wanting a new hospital built? His strategy for tracking the lions? The building of the new hospital, placing blood all over the old hospital, tempting the lions? The irony of the lions resisting it, going to the new hospital, the massacre and ravaging? The death of Doctor Hawthorne? The effect on Charles and Patterson?

11.Tracking the lion in the jungle? The change of rifle? The stalking, the sudden attack, Patterson being mesmerised, his rifle not firing? Charles and his killing the lion? The point that Patterson was hit? Remington being hit when the lions attacked the hospital?

12.Samuel, his advice, his trust? His support?

13.The final stalking, the confrontation, the death of the lions?

14.Patterson, his nightmare, Helena arriving with the child, her being attacked and savaged by the lion? The vivid sequence – and audiences first assuming that this is what happened?

15.The support group for the building of the bridge, Angus and his help? Friendship? Samuel and his place? Abdullah and the Arabs finally moving out?

16.The death of Charles Remington? The hero dying in the jungle – the anticipation of the Hemingway style of hero? People mourning him?

17.The completion of the bridge, Helena arriving, the child – and the happy ending? The overall effect of the historical re-creation of bridge-building in Africa? The menace of the lions?

JESUS THE SPIRIT OF GOD (THE MESSIAH)

Iran, 2007, 111 minutes, Colour.
Directed by Nader Talebzadeh.

Western film buffs were surprised at the Fajr Film Festival in Tehran in 2005 to find a Jesus film. It was Nader Talebzadeh’s The Messiah, a two hour film cut down from a 10 hour miniseries. This should not have been completely unexpected since there had been a film/miniseries called Saint Mary (2002), a portrait of Mary, Mother of Jesus, based on the Koran.

Talebzadeh continued to work on his Messiah, especially engaging in dialogue with Christian audiences. By 2007, he had filmed a second ending using Christian sources. It was inserted preceding his original ending based on Islamic sources and the Gospel of Barnabas. Screenings of this film, now titled Jesus the Spirit of God, followed by discussions, took place in Europe and North America during 2007.

Jesus the Spirit of God stands as an interesting version of the Gospels as well as having its Muslim perspective, especially in the role of Jesus as a Prophet who was not the Son of God but a great prophet who foreshadowed Mohammad. The quotations are taken from the English subtitles for the film.

Pilate and Caiaphas

Sets, décor and costumes are quite lavish, enough to rival other Jesus films. However, the director was influenced by European and American Jesus films and his Jesus is a tall dignified figure, long-haired, clad in white. However, he is also presented as a middle Eastern figure, a teacher and a leader, a charismatic prophet in bearing and speech.

In this film version – the miniseries was to undergo more work during 2008 – the Roman occupation of Judaea is important. The film opens with Pontius Pilate returning from Rome (and wanting to go back there as he says he hates the faces of the people). He holds court, discusses the phenomenon of Jesus of Nazareth and is, at first, impressed. The Romans are cruel and are putting down riots violently and crucifying zealots on Golgotha. Pilate, who is shown in one scene having a haircut and enquiring about the massacres, wants crucifixion to be a means for intimidate the people.

Caiaphas, the high priest, also looms sinisterly in the film, holding talks with Barabbas who is a vicious leader (seemingly connected with the now beheaded John the Baptist) who wants a Jewish king not the Son of God. Caiaphas commissions him to get the people to find Jesus so that Jesus will make a declaration about himself. Caiaphas tells Barabbas that Jesus is the best opponent he will ever have and to investigate the claims that he is a sorcerer, that he was fatherless.

Caiaphas is not above other scheming and meddling, uniting with Pilate and Herod. Ultimately, Caiaphas wants to bribe Pilate to kill Jesus with the offer of chests of money.

Jesus, preacher and healer

The portrait of Jesus is dignified and quite serious. Jesus does not laugh. A voiceover commentary introduces him as he walks through green hills with a staff and a choral background. We are told that the Prophet of Galilee is beginning his mission. He calls some of the apostles, especially by the sea of Galilee. Philip is a shepherd. Barnabas comes from Cyprus and John from eastern countries. Judas is chosen and described as not benefiting from being blessed with faith. Jesus speaks of worship, the beatitude concerning mourners, concerning the poor who have turned from worldly enjoyments to eternal enjoyments, concerning wayfarers. People flock to Jesus.

Included is a healing story, a woman coming to Jesus pleading and weeping, asking for a cure for her deaf and mute sister. Jesus is silent, quietly bows. He is like an icon and watches. After the cure, the people crowd around to touch him. Jesus goes into the Temple, raises his arms in the manner of the familiar statues and praises God, the creator, and the Holy Name of God. He praises Moses the mediator of the law. But he condemns the heads of the priesthood and reproaches the scribes and Pharisees for their false interpretations of the law.

Another miracle follows. A hunchbacked woman is presented. Jesus raises his hand in blessing. The apostles watch silently. Gradually, the woman unbends and rises. Jesus is referred to as adopted Son of Joseph, healer of Mary Magdalene and that the saviour of the world is here.

At this point a story based on the Acts of the Apostles is inserted, an argument in the Sanhedrin where Gamaliel, against Caiaphas, advises not doing battle with Jesus or killing him – let time pass and it will reveal the truth.

A different kind of miracle occurs out in the desert with the disciples asking for food from heaven. Now Jesus speaks directly and in his own voice. He kneels, prays, quoting God as sending food down and warning that those who do not believe will be chastised. This echoes the manna in the desert as well as Jesus’ references to food from heaven in John 6 as well as an anticipation of the condemnation of Judas. After a long gaze at the skies, Jesus sees a lavish banquet laid out on the ground and the apostles eat. Judas does not (and the screenplay adds a rare touch of humour when one of the apostles urges him on, reminding him that he does not have to pay). While Jesus prays thanksgiving, Judas runs away calling it all a mirage.

Another miracle when the widow of Nain comes to Jesus with the question whether his birth was a miracle and that God had given him great power. ‘I beg you, son of Mary’. Jesus urges no tears since the boy is sleeping and he invokes ‘the Lord of the two worlds’. At this stage a large idol, already shown being carried to the entrance to Nain, topples as the boy rises from the dead.

Jesus not God, son of God, or the prophet

A key discussion sequence follows when the people find Jesus and Caiaphas worships him, appealing to Jesus to quell the dissension he has roused. Jesus says he is not God, nor the son of God nor the Prophet. He says he is a human being but ‘my consolation is in the coming of a prophet who will correct wrongs. His teaching shall spread over the world. His teaching will have no end and God shall keep it safe’.

The encounter with Nicodemus follows with Jesus invited secretly to a meal. In reminding Nicodemus that he had initially suspected Jesus of wanting to abolish the law, Jesus condemns the distortions of the Torah and the corruption of later prophets, the difference between preaching and practice. In referring to the slaying of the prophets, he asks, ‘what religious man have they left to die a natural death?’. They are the children of Satan and do his will.

Mary Magdalene is identified with Mary, the sister of Martha and Lazarus. She comes weeping to Jesus as her brother is dying. We see the mourning, the sisters plea to Jesus and Jesus raising Lazarus from the dead by the God of Abraham, Isaac and Ishmael. A ‘Palm Sunday’ sequence follows with tambourines, palms and cloths laid on the path before Jesus who declares that he has come to complete the religion of Moses.

The woman taken in adultery

As with so many Jesus films, the story of the woman taken in adultery receives quite some prominence. As in other films, it is made part of the high priest’s plan to trap Jesus. They arrange a set-up. The point is that they can condemn Jesus either way: he refuses to obey the law of Moses by stoning the woman or he betrays his own teaching of mercy. The woman proclaims her innocence (witnesses testify against her) and says she had come from Samaria in search of her husband. Jesus listens, makes the statement about the stoning and withdraws and traces a square. This becomes a mirror and the first stone thrower looks into it and sees a distorted, ugly reflection and then runs away. Interestingly, the woman speaks again and says that, if she is pardoned, she will sin no more. Jesus says God has not sent him to condemn her.

Towards the crucifixion

A long section follows where Jesus goes into the temple on the eve of Passover – a roasting lamb is shown. There are accusations that Jesus lies. He defends his telling of the truth. Once again, he speaks of Mohammad, the final prophet who is descended from their great ancestor, Isaac. He will tell the truth. Jesus asks why they rebuke him as an enemy rather than as a brother. ‘If I work iniquity, reprove me.’ The elders of the Sanhedrin ask him whether the great ancestor is Isaac or Ishmael, the father of the Arabs. Jesus says that the messiah must be descended from Ishmael and that he is his messenger. Uproar ensues as they pick up stones to hurl at Jesus. He passes from them and, blinded, they throw the stones at each other.

It is at this stage, Caiaphas tries to buy off Pilate. Pilate rejects the claim that the Jews and Romans have common interests and taunts Caiaphas, ‘the unseen God you are always talking about is greed’. The whole proposal is a good bargain but a bad deal: ‘you want me to incriminate someone who has not broken Roman law’. Pilate says there will be a permanent stain on them.

The next scene is somewhat surprising for Christian audiences. In the woods, Jesus tells the apostles he will be leaving them soon and that they should keep faith during his absence. He adds (in the words of John’s Gospel), ‘I will ask the merciful God to send the Comforter. He will remind you of all I have said and bear witness to the truth of my teachings’. Here is an interesting area for discussion between Christians and Muslims on the Comforter (the Spirit).

At the Last Supper, Mary Magdalene brings the perfume and liberally showers Jesus with it. Judas shakes his head and claims that thirty people could have been fed with its cost. Jesus tells Judas that he knows what is in his heart. Judas now goes to Caiaphas and is announced, ‘His Excellency, Judas son of Isacariot, is at your service’. Caiaphas offers thirty silver coins. The voiceover at the supper says that this year was different for the apostles. As Jesus washes the feet, it continues that it was destined that Jesus have a Last Supper.

The Christian ending

It is at this point that the screen states, ‘Continuation of events according to the Christian narrative’.

This is quite brief. The Romans come to the supper room, manhandle Jesus and take him to the court where there are cries of denunciation, ‘The cure for this accursed man is the lashings of the Romans’.
Jesus is silent as Pilate speaks, saying that he does not want to crucify him, that he does not want to be blamed for Jesus’ murder. The guards spit at Jesus. He is scourged. And scenes of the treasure bribe being carried in for Pilate are intercut. Pilate says he hope thinks people will change their minds when they see Jesus’ broken body.

They do not. Jesus carries his cross, women follow him. In a brief sequence he is seen raised from the dead.

The Islamic ending

Now, at this point, the screen states, ‘Continuation of events according to Islamic sources and the Gospel of Barnabas’. There are some great surprises now for audiences not familiar with these sources.

Jesus reflects on people wanting to kill him and prays to God that he may be saved from their snares. The angel Gabriel appears and explains God’s plan for Jesus’ suffering, ‘Son of Mary, I shall take you from this world and purify you’. Jesus sees a bright light. ‘Your appointed time has come.’ Jesus walks into the light.

Now Judas returns and the apostles are sleeping. The bright light turns on Judas who screams and is transformed ‘in speech and face’ into the form of Jesus.

The film returns to the Romans coming to the door. Judas/Jesus is arrested, protesting that Jesus has escaped. He is mocked, called a ‘heathen’, struck and lashed. (There is a short interlude where a soldier accosts the terrified Peter, ‘have you seen a jinn?’. Peter says, ‘I am still his disciple but that man in not my teacher’.)

When Judas/Jesus is with Pilate, Pilate’s officer says he is talking nonsense and is an idiot. Pilate says that his eyes testify but his inner conscience says this man bears no resemblance to Jesus. The people cry out for his death. Pilate expresses the dilemma when Judas says he has been transformed by Jesus’ sorcery: that if this is truly Jesus, then he has lost his understanding and it is cruel to kill a mad man, he deserves pity. However, the Sanhedrin declares it is Jesus and that they take full responsibility.

The crucifixion follows with the voiceover comment, ‘God set a seal on the cruel hearts of the people of Israel because they killed (not him but who appeared so) the Messenger of God, Son of Mary. Jesus/Judas cries out from the cross that God has abandoned him.

There is a resurrection epilogue with a reference to a Koran sura that God raised Jesus – and we see the risen Jesus, in the company of his disciples.

Jesus Spirit of God (and the miniseries) is a different contribution to the Jesus films and opens up avenues for interfaith theological dialogue.

1.The impact of the film? The Gospel story? From an Islamic perspective? An Iranian production? Sets, countryside? Costumes and décor? The Romans, the Jews, Jesus and his disciples? The musical score? The choral effect?

2.Judea, 30AD, the Romans arriving, Pilate returning to Judea? The revolutions, Barabbas and his talk, the prophetic era at an end? Barabbas and talking of being disciples of the beheaded Baptist?

3.The prophet denouncing the City of David and Solomon, the fights with the Roman people, the pomp of Pilate’s arrival and court?

4.Explanations of Pilate, coming from Rome, the backing of the emperor? Pilate saying that he hated the faces of the Jews? Intending to return soon to Rome?

5.The introduction to Jesus, the Jewish high council worried, Pilate liking the idea of Jesus? The cinema tradition of Jesus: hair, robes, staff? The choir score? His walking through the hills? The prophet of Galilee at the beginning of his mission, choosing the disciples, especially by the Sea of Galilee? The Levite Barnabas coming from Cyprus, Philip the shepherd? John from eastern lands? Judas – who didn’t have the benefit of the blessing of faith?

6.The talk of worship, Jesus speaking, the Beatitude of those who mourned, the poor: those who turned from worldly enjoyments to eternal enjoyments? The blessing on wayfarers? The crowds of people coming to him? The voice-over?

7.Roman cruelty, the Zealot carrying the cross, paraded, going to Golgotha?

8.Barabbas, the soldiers, urging the memory of David and Goliath? The crowds of people picking up the stones, wanting to bring down the empire? The riots, the stoning, the burning? Barabbas urging them to aim at the commanders? The fights and the killings?

9.Pilate, using crucifixion to intimidate the people? Lentos, his taking the blame for the riots, taking two revolutionaries to Golgotha, crucifying them – and the visualising of the crucifixion?

10.Jesus and the woman, pleading for a healing, weeping (Middle Eastern style)? Jesus silent, bowing to the woman, the woman recovering her hearing? Jesus as an icon, watching, people touching him? His entering the temple? His postures, raising his arms like the conventional statues? His praise of God, the Creator, God to be worshipped, the holy name of God? The praise of Moses as mediator of the law? People and their questions of what they should do? His condemning the heads of the priesthood, reproaching the scribes and Pharisees for false interpretations of the law?

11.The hunchback woman, Jesus and the blessing? The apostles watching, her gradually standing straight?

12.The comment on Jesus of Nazareth, adopted son of Joseph, healing of Mary Magdalene? The critique about his miracles and claims? That the Saviour was here? The opinion of the moderate Gamaliel, Caiaphas’s speeches? Gamaliel (echoing the Acts of the Apostles) urging that they should not kill the truth, not do battle with Jesus, leave everything to the passage of time and truth would be revealed?

13.The disciples in the desert, asking for food from Heaven, discussion about truth, the apostles witnessing to it? Jesus now speaking directly, kneeling and praying, quoting God, that God would send the food down, if any did not believe they would be chastised, the nations would not be chastised, the group looking to the heavens?

14.The long shot of the sky, the sudden appearance of the food, the heavenly feast, the food come down, Judas not eating, the comment that he didn’t have to pay? Jesus raising his hands and his prayer of thanksgiving? Judas saying it was a mirage and running away?

15.The statue being carried into Nain? The woman asking whether Jesus’ birth was a miracle? Saying that God had given him the power, begging the son of Mary for the healing? Jesus urging not to shed tears, the boy was not dead? “In the name of God, the Lord of the two worlds …”, the boy raised, the idol collapsing?

16.The witnesses to Jesus in Jerusalem because of Nain?

17.Caiaphas and Barabbas, discussing Jesus as the common enemy, the best opportunity that Barabbas would have, to confront him indirectly, that he was a sorcerer, fatherless? Barabbas violent, saying that they were waiting for a Jewish king, not the son of God?

18.Pilate and his haircut, the Romans massacring the Jews, the Roman army, the comment that it was through Satan that it was being stirred up? Stirring up the Hebrews? Forty days of fighting, father against son, brother against brother?

19.Caiaphas, Herod and Pilate, with the people, urging the people to find Jesus and get him to give testimony of himself, the crowds coming, the Romans and Caiaphas? Kneeling and worshipping, calling him Adonai? All Judea thinking that he was the son of God, all coming to appeal to him to calm the dissension, titles God, Son of God, Prophet of God and Jesus denying this? Jesus saying that Caiaphas was stirring the fire, forgetting about the prophets? Jesus denying all that was said, claiming that he was merely a human being? Pilate and his edict about Jesus not being the son of God? “My consolation is the coming of a prophet who will correct everything, his teaching shall spread over the whole world, his teachings will have no end, God shall keep it safe”? The reference to Mohammed?

20.The Romans and the Senate, the scene, the speeches and the vote?

21.Nicodemus, deeply honouring the prophet, inviting him to his house secretly, Jesus asking whether Nicodemus thought that he wanted to abolish the law, but because of the distortions of the Torah and the corruption of the prophets he came to preach? The reference to the slaying of all prophets from Zachariah? What religious man have they left to die a natural death …? Children of Satan, doing his will?

22.Mary Magdalene, weeping, Lazarus dying, the funeral and the mourning, the chanting and ululating? Martha and Mary, Jesus saying those not blessed by God are dead, Lazarus asleep? The God of Abraham, Isaac and Ishmael? Lazarus comes from the tomb, is unbound?

23.The tambourines and the palms, the cloths on the path, the chanting, Jesus and the Palm Sunday incident, his coming to complete the religion of Moses?

24.The plan, the woman taken in adultery, the hope to trap Jesus? The contrast between Mosaic justice and Jesus’ mercy? The woman claiming she was innocent, the people saying she was not, her saying she came from Samaria to find her husband? Witnesses declaring they saw her? Jesus drawing a square, asking them to cast the first stone, the square as a mirror, the ugly image of the man who wanted to cast the stone, his running away, people saying he was crazy? The woman saying that if she was pardoned she would sin no more? God has not sent me to condemn you, Jesus?

25.The Sanhedrin, the murder in the street, the corpse, the wife going?

26.The plan for Jesus to be murdered by the pilgrims in the temple, the lamb being roasted, the challenge about his not being the son of God? The going to the temple with the multitude on the eve of the Passover, final prophet is descended from our great ancestor Isaac? Telling the truth, the people want lies, Jesus says he is not a liar? Caiaphas – are those who follow the law of Moses unable to hear the truth? Jesus telling the truth, hated and the people seeking to kill him? Accusing the true servants of God in the house of God? The accusations that the Devil was on his back, that Jesus was the Samaritan and had no respect for the priesthood? Jesus asking why they rebuked him not as a brother but as an enemy? “If I work for iniquity, reprove me. You are not children of Abraham as you call yourselves.” We are elders of the Sanhedrin, which son of Abraham do you mean, Isaac or Ishmael, the father of Arabs? The son of Abraham was Ishmael from whom the Messiah must be descended. Jesus says he is the messenger, Mohammed will come? Uproar, the stones, Jesus vanishing from their eyes, going out of the temple, their being blinded and throwing stones at each other?

27.Pilate asking Caiaphas about the pile of stones in the temple, Caiaphas inviting Pilate to a fruitful coalition, “We are all human and have common interests”? Pilate demurring, saying the unseen god they were always talking about was greed. Caiaphas trying to buy off Pilate, a good bargain but a bad deal, “You want me to incriminate someone who has not broken Roman law”? His claim that there would be a permanent stain on the people?

28.Jesus in the woods, saying he would leave the disciples soon, telling them to keep faith in his absence? Saying that he would ask the merciful God to send the Comforter, to remind them of what he said and to bear witness to the truth of his teachings?

29.Pilate arresting Jesus, fulfilling the words of David and the quotation from Psalm 2 about his announcing salvation to the whole world?

30.The Last Supper, Mary Magdalene and bringing the ointment, Judas shaking his head, Mary pouring lavishly, Judas sinister and attacking, saying the ointment could have fed thirty people? Jesus saying he knew what was in Judas’s heart, urging the others to be patient?

31.Judas going to Caiaphas, “His Excellency Judas, son of Iscariot, is at your service”? The offer of thirty coins of silver?

32.The supper, the comment that that year was different from the apostles, it was destined that Jesus have his last supper, Jesus washing the disciples’ feet?

33.The screen information: continuation of events according to Christian narrative. The people at the door, the rough Romans, taking Jesus to the court, cries of denunciation, “The cure for this accused man is lashings of the Romans”? Jesus with Pilate, Pilate speaking and not wanting to crucify Jesus, not wanting to be blamed for his murder, Jesus not speaking? The guard spitting, the scourging? The money carried in for Pilate?

34.Pilate thinking that the people might change their mind when they see Jesus’ broken body? Carrying the cross, the women following, his being raised, Mary’s grief?

35.The screen saying continuation according to Islamic sources and the Gospel of Barnabas? Jesus reflecting about his death, praying, asking to be saved from the snares of the enemy? Angel Gabriel appearing, the plan for Jesus’ suffering? The Lord saying that Jesus was son of Mary, that he would take him from this world and purify him, then return him? Jesus seeing the light? “Your appointed time has come,” and Jesus walking into the light?

36.Judas returning, the apostles asleep, the bright light on Judas, his screams and he has become Jesus in appearance? In speech and face?

37.The return to the scene of people opening the door, the apostles fleeing, Judas/Jesus arrested? Judas saying Jesus has escaped, Judas being mocked? Being called heathen? Lashed, struck? Peter accosted and his accuser asking him had he seen a jinn? “I am still his disciple, but that man is not my teacher”?

38.Judas with Pilate, the music, the speech but the audience not hearing Pilate’s words? Lentos saying that Judas/Jesus talks nonsense and is an idiot? Pilate saying that his eyes testified but his inner conscience says that this man bears no resemblance to Jesus?

39.Pilate, Jesus and the people, the verdict, Pilate saying he deserved pity, that if he is not Jesus but Judas, then pity, Judas saying that by sorcery he has been transformed? If he is Jesus then he has lost his understanding and it would be cruel to kill a madman? Members of the Sanhedrin saying that he was Jesus, taking full responsibility? The comment that God had set a seal on the cruel hearts of the people with Israel and their wanting to kill Jesus, not Jesus himself but the person who appeared? The true Jesus was messenger of God, son of Mary? Judas on the cross crying out that God has forsaken him?

40.The comment that God raised Jesus, the explicit Koran Sura reference? Jesus risen, moving with his disciples?

41.The overall impact of this film? A re-creation of the Gospel? The Islamic perspective? The greatness of Jesus, his predicting Mohammed? The effect of the two endings? The possibility for dialogue between Islam and Christianity?

THE WATER HORSE

UK/US, 112 minutes, Colour.
Emily Watson, Alex Etel, Ben Chaplin, David Morrissey, Priyanka Xi, Marshall Napier, Brian Cox.
Directed by Jay Russell.

Dick King- Smith is best known for his story of the pig who wanted to be a sheep-pig, Babe.

The Water Horse is his story of Crusoe, a Celtic legendary water horse, only one of whom lives at any one time. Hatched from an egg, it grows into what we best know as the Loch Ness monster. In fact, this is something of a tongue-in-cheek Loch Ness monster story, told by an old man in a pub to two American tourists.

The main story takes place in 1942 in the highlands of Scotland (with some local footage but New Zealand standing in for Scottish lakes and mountains). Young Angus Mc Morrow finds a mysterious egg on the rocks and takes it into his father’s old shed. His father is away at the war and his mother and sisters find they are suddenly billeted with British soldiers led by a rather pompous David Morrissey. They are assigned a wounded war hero as a handyman.

There is a lot of what you might expect in this kind of story: the boy is attached to the creature but finds he has to let Crusoe go into the wild of the lake; the handyman tells him the legends and becomes an ally, along with his sister, for keeping Alex’s secret from their mother; when the army mascot (called Churchill) scents Crusoe there are chases, pratfalls and mayhem; some of the locals try to photograph Crusoe so that, after the war, tourists will come to Loch Ness to see the fabled monster; Crusoe is mistaken for a German submarine in the loch and is fired on. But, even if it is familiar, it is all done so nicely with a more sensible British approach to matters – and with a Scots burr.

The scenery is attractive, the period of the war well re-created, and Crusoe has been manufactured by Weta Studios in Wellington which, since The Lord of the Rings, has been doing non-stop work for New Zealand and overseas movies.

Alex Etel plays Angus, a rather serious but endearing actor – who was so good at seeing the saints in Millions. Emily Watson is his mother and Ben Chaplin the handyman.

There is something for most audiences, children and parents and audiences who enjoyed the exhilarating rides of Whale Rider and Free Willy won’t mind the similarities and the excitement of Angus riding Crusoe over (and under) the loch.

1.Dick King- Smith’s stories, the focus on animals, humans?

2.The Scots story, the New Zealand locations, the mountains, lakes? The score? The Chieftains’ music? Sinead O’Connor’s? song?

3.The title, the legend, Celtic, reality?

4.The framework: old Angus, the pub, the American tourists, his telling the tale, their becoming excited, his memories, his final identity?

5.World War Two, 1942, the Scottish atmosphere, the shore, the lake, the water, the house? The possibility of German submarines? The billeting of the soldiers, the occupation of the house? The grounds? Training, guns, the firing of the guns? The stiff-upper-lip style?

6. Angus as the focus, on the shore, imagining himself drowning, collecting the shells, finding the egg, his special room, his father’s workroom, his memory of his father, the memorabilia on the wall, the calendar? His relationship with his mother, his sister? Life in the house? Discovery of the egg, its hatching, calling the creature Crusoe? Feeding it with the potato, giving it water, keeping it as a pet? Kirsty and her discovery of Crusoe in the bath, her reaction? Crusoe growing? Lewis’s arrival, talking about the myths, the dog chasing Crusoe, the mess in the house? Taking the creature to the water, Lewis helping? Angus as a boy, quiet, delighted with Crusoe? Confined to his room by his mother, getting out, going to the shore, the ride on Crusoe’s back, under the water, the experience? Hamilton and his wanting to impose discipline, giving Angus various jobs, cleaning the cars, chores, the drill? Angus running away?

7.Kirsty, her relationship with her brother, sharing the experience of Crusoe, with the soldiers?

8.Angus’s mother, widow, the hard life, the upkeep of the house, welcoming the soldiers, dressing for dinner, the mess with the chase, her relationship with her children, discipline? Disappointment that Angus could not accept his father’s death?

9.Hamilton, his style, pompous, uniform, the dinner, his criticisms of Lewis, finding out the truth about him, the attacks?

10.Lewis, initial arrogance, sullen, the shed, severe with Angus, with Angus’s mother, the reaction to Hamilton, the truth about his heroism? Mellowing, helping Crusoe in the bath, telling the story of the myths, supporting Angus, taking Crusoe to the lake?

11.The kitchen, the cook, his dog, flirting with the servant, their dancing, the kiss, the children seeing? Seeing Crusoe? Everything flung around the kitchen?

12.The hunter, taking the cook, the killing of the deer? His sinister face, on the boat, the pursuit of Crusoe, defeated, Mayday?

13.The war, the training, the firing of the cannons? The discovery of Crusoe? Angus on Crusoe’s back, the firing of the cannon, the wire to keep out the submarines, Crusoe leaping it to freedom?

14.Crusoe, as a creature, small, growing, chased by the dog, the comic touches, the water, the experience of the war, love for Angus, freedom?

15.The fisherman, the photo, the newspaper article, wanting tourists, the origins of the Loch Ness Monster?

16.How enjoyable this hypothesis about Loch Ness? The older Angus telling the story, the American tourists listening? A memoir of the period?