CIMARRON

US, 1931, 114 minutes, Black and white.
Richard Dix, Irene Dunne.
Directed by Wesley Ruggles.

Cimarron is based on a novel by Edna Ferber, a story about the opening up of Oklahoma with the runs on the land in 1889 and 1893, the development of the territory, its build-up to a state. The span of the story extends from 1889 to 1930, the time in which the film was made. Edna Ferber also wrote the books for Show Boat, Giant, So Big.

The film won the Oscar for best film of 1931. It was directed by Wesley Ruggles, a director who worked in a number of genres. Richard Dix’s performance as Yancey Cravat is rather histrionic, more stage-like than for cinema. By contrast, Irene Dunne in an early role is able to move from a simpering devoted wife, a puritanical pillar of society to a woman who takes a newspaper in hand and finally is elected to the Congress. She was to be a strong force in films in the 1930s and 40s including Roberta, Show Boat, Penny Serenade, Anna and the King of Siam.

The film is interesting in its portrayal of the west, of the Oklahoma Territory, of the characters who built up the state, of the restless men like Yancey Cravat who needed to move, who fought in the American -Spanish war, who profited by the oil gushers in Oklahoma Territory. The film is also interesting in its presentation of the native American Indians, the slurs from characters like that of Irene Dunne who gradually change, even accepting a native American as a daughter-in-law. There is also a glimpse of African Americans, especially in the young boy Isaiah. However, while the word ‘Jew’ is not mentioned (and was not mentioned in films of this period), one of the central characters is a Jewish salesman, presented very sympathetically. There was a remake of the film in 1961 starring Glenn Ford and Maria Schell, directed by Anthony Mann. It is much more extensive in scope with a longer running time and widescreen colour.

1.A film of the early 30s, classic status, Oscar, a piece of Americana, the forty years of history of Oklahoma Territory?

2.The black and white photography, the sound engineering, the staging, the focus with close-ups, the sweeping scenes of action, the runs on Oklahoma Territory? The acting styles – from stage, adapted for screen? The musical score?

3.The title, Oklahoma, the runs, 1889, the Cherokee run, the Indians and the small payment, the land, the building up of the towns, the discovery of oil, the modern cities of the US?

4.The forty years of action, the structure of the film, the introduction to Oklahoma Territory, Yancey and the land rush, his losing the land, the defiance of the woman, going back to Wichita, meeting the Venables, their prim attitudes, Sabra and her making the decision? The journey, settling, setting up the paper, life and the development of the frontier town, the Cherokee run, moving to 1898, the Spanish -American war, 1907 and the greater development of Oklahoma, the transition to 1929, the forty years’ development and change?

5.Yancey as the focus, the portrait of the restless adventurer? Sabra and the portrait of the prim young woman, having to be on her own, developing? Her achievement?

6.Yancey Cravat, Richard Dix and his acting style, the histrionic style? His experiences in Oklahoma? Marriage to Sabra, Cim as the young son, the meal with the Venables, the discussions, the decisions? On the wagons? Encountering Kid? The past friendship? The arrival in the town, the rough town, Yontas and his threats, setting up the paper, his quest, the confrontations in the street, Yontas shooting the hat, his reaction? The leadership, being invited to the church, the set-up for Yontas, the shooting? The collection, money for building the church? The paper and his success? The Cherokee run, his wanting to go? The encounter with Kid, the threats? The shootout? Isaiah and his death? His going away, leaving Sabra and the children, being away for five years? His return, the immediate defence in the courtroom, the young woman, the friendship with her? His love for Sabra, his disappearance? The Spanish-American? war? The editorial about the Indians, his statements about the injustice? His disappearance, his memory, the drifter at the end, the oil rig, giving his life? Sabra finding him? The monument to the pioneers of Oklahoma?

7.The American frontier, the Indians, the taking of the land, the poor recompense, their being in the towns? The growing wealth? American commerce? The individuals, empires? The prejudices against the Indians? The presence of an African American boy? American pride, enterprise? Changing attitudes, especially in the 1920s? The building of the skyscrapers, industry, commerce? The oil rush?

8.Irene Dunne as Sabra, the scope of her performance, the initial timidity, her decision to go with Yancey, prim, her life in the town, her being cautious, with the women, respectable, fashions? In the church? The women of the town, her coping with Yancey’s absence? The birth of the children? The paper and her attack against Dixie? Her shock at Yancey defending Dixie? Yet her continued love? Dealing with her children, Donna and her becoming a snob? Cim and Ruby, Sabra’s bigotry against the Indians? Her continuing to run the paper, the passing of the forty years, the election to Congress, the dinner, her speech, her acknowledging Ruby, her pride, the forty years and remembering Yancey’s editorial about the Indians?

9.Cim, the young boy, friendship with Isaiah, his growing up, friendship with Ruby, independence, marrying and having a family? Donna, snobbery, going away to school, her reaction to her father? Her marriage and success?

10.The various helpers on the paper, pioneers, support of Yancey, support of Sabra, working with her over the forty years? The printer, layout?

11.The women of the town, Edna May Oliver and her comic style?

12.The Indians, the poor recompense for the land, the Cherokee run, in the town, looked down on, standing at the back of the church? Ruby and her work in the house? The son of a chief? Sabra’s bigotry? The end, her acknowledgment of Ruby and her grandchildren? The chief paying tribute to her and her stances?

13.Isaiah, the caricature of the African American, the young boy, the meal, frightened, going to the town, his work for the family, going to the church, Yancey sending him home, his going out to help, his death?

14.Sol Levy, his being the butt of taunts, the rope around his neck, Yancey rescuing him, his going to the church, the Hebrew church included with all the other churches, the friendship with Yancey, with Sabra, his carrying Isaiah when he was killed? The presentation of a Jewish character in a Hollywood film at the beginning of the 1930s?

15.The scope of the film, its acclaim in 1931, how does it stand up in retrospect? An insight into attitudes of the 1930s?

BEFORE THE DEVIL KNOWS YOU’RE DEAD

US, 2007, 123 minutes, Colour.
Philip Seymour Hoffman, Ethan Hawke, Albert Finney, Marisa Tomei, Rosemary Harris, Michael Shannon, Amy Ryan, Brian F. O’ Byrne, Leonardo Cimino.
Directed by Sidney Lumet.

After working some years in live television drama, Sidney Lumet made his feature film debut in 1957 with Twelve Angry Men. He had made his mark with his first film, a director with a skill in storytelling, dramatic tension and characterisation. During the fifty years that followed he has made a number of outstanding films which range from classic dramas like O’ Neill’s Long Day’s Journey Into Night and Miller’s A View from the Bridge (from the 1960s) to Serpico and Dog Day Afternoon in the 1970s, as well as his Oscar-nominated Network, Q and A and Prince of the City from the 1980s, Night Falls on Manhattan from the 1990s. At age 83, he has released Before the Devil… Lumet is a master screen storyteller.

This one is tough stuff. It boast s a strong cast with Albert Finney and Rosemary Harris as parents who own a jeweller’s shop in a mall in Westchester. They have two sons, Andy (Philip Seymour Hoffman in yet another excellent and different performance) who works in real estate in Manhattan and Hank (a gaunt Ethan Hawke) as the spoilt son who has become one of life’s losers. Marisa Tomei is Andy’s wife.

The structure of the screenplay plays with time. We are introduced to the two brothers and then we are told it is the day of the heist. A masked man robs the jeweller’s shop and fatal shots are fired. We then go back several days in time and the screenplay develops the characters of the brothers and explains the set up for the heist. Just as we seem to be advancing chronologically, we take more steps back and fill in the background, being offered more and more clues to explain what has happened and why.

No good comes of this heist. The consequences are lethal and lead to downward moral spirals of most of the central characters. The ending is tragic as the audience is dismayed at what has happened and wonders why – and who could have made a move to stop the seemingly inevitable disaster.

The film is a fable about the moral crisis in contemporary society, the moral vacuum in so many people’s lives. It is a story about appearances and reality, about greed and unscrupulous manipulation of people. And it also highlights American gun violence. With most films, there is some hope for redemption. This seems to elude most of the characters here. The devil has made the acquaintance of the two brothers long before they are dead.

1.A character study, a crime drama? The interplay of the two?

2.The title, getting to Heaven before the Devil knows you’re dead? The tone of the title?

3.New York City, the Manhattan buildings, Westchester, the mall, the shops? Homes, the diamond district, the cemetery? The musical score?

4.The complexity of the structure: the titles, the narrative going back and forth, heightening the drama, giving the background stories of the characters, fuller details of the incidents? Audience knowledge, clues, filling out the detail, further complexity? The overall dramatic effect?

5.The introduction to Andy and Gina, the sexual sequence, Gina and her behaviour, Andy, fat, his behaviour, reaction? The discussions about Rio? The possibilities for the future? The contrast with Hank, gaunt, his family, the break-up with Martha, her bitterness, his love for his daughter, his not paying, lateness, his daughter seeing him as a loser, seeing her in the concert, the applause, her wanting to see The Lion King, his not being able to pay, her reaction? The affair with Gina? Loving her?

6.The robbery itself: Bobby, the mask, tone, Nanette’s reaction, her getting the gun, shooting Bobby, his shooting Nanette? Her wound, going to the hospital, the life support system, her death? Bobby’s death and crashing out of the shop? Hank and his taking off, phoning Andy?

7.The effect of going back in time, the days before the heist, afterwards, before the funeral? The filling out of the characters of Andy and Hank, Charlie? Gina?

8.The portrait of Andy: large, early forties, self-confident, yet bitter about the past, the older son, his dislike of his father? His work? Embezzling the money? His relationship with Gina, sexual encounters, the plan, Rio? Going to the dealer, paying off the dealer with the embezzled money? The injections? Telling Hank about the robbery, persuading him? The revelation that it was their parents’ shop? The allegedly easy plan? His visiting the old dealer in the diamond district, leaving his card?

9.The portrait of Hank, the loser, life, pampered baby of the family? The tense relationship with Martha, his daughter? Andy’s proposal, his being pressurised, the money situation? His inability to do the job by himself, going to see Bobby, hiring the car, picking up Bobby, the encounter with the girlfriend, the playing of the CDs, leaving it in the car, the tension about retrieving it? The old lady in the shop – and it being his mother? His taking off?

10.Charlie, his birthday, his eyes, the test, his doing well, dropping off Nanette, going to the police station, the return, the grim crime scene, his trying to get information from the police?

11.Andy and his drugs, his finally shooting the dealer? Hank and the encounter with Dex, the threats, the blackmail? His asking Martha for money and her reaction? Andy confronting Dex, shooting him, his attempt to shoot Hank, the girl shooting him? Going to the hospital?

12.Bobby, the hoodlum, his type, deciding to do the robbery, the robbery itself, his verbal violence, his death? Dex, tough, his sister, the baby? Wanting to do the best by her? His threats, his death?

13.The funeral, the family grief, the wake, Hank going out, ringing Gina?

14.The office, the calls to Andy, Andy taking the money, packing, buying the plane ticket?

15.Gina, her life, relationship with both brothers, being sexually used? Supportive of Charlie? With Hank, with Andy? Her decision, the discussion about Rio? Waiting to give Andy the information about the office, going?

16.Charlie and the pressure on Andy, the apology after the funeral, the depth of Charlie’s words, Andy refusing to accept? Andy urging him to make a decision about Nanette and the life support?

17.Charlie and his visit to the diamond district, the card, his reaction to the news about Andy, following in the car, seeing everything, seeing Hank run away, Andy’s body, going to the hospital, his skills in keeping the system going and smothering Andy? Walking away?

18.A film of evil, betrayal, out of the depths – but no hope or redemption?

THE SAVAGES

US, 2007, 113 minutes, Colour.
Laura Linney, Philip Seymour Hoffman, Philip Bosco, Peter Friedman, Rosemary Murphy.
Directed by Tamara Jenkins.

It is a pity that the ironic overtones of the name of the focus family, The Savages, indicates more of a barbarity than they actually display. Lenny Savage, the ageing father slipping into dementia, has acted in savage ways towards his children when they were growing up and has become a cantankerous old man who taunts his (not always kindly) carer by smearing insults on the bathroom wall with his excrement. But, his two children, who have to face up to the reality of his condition and their filial responsibilities, are by no means savage. In many ways, they treat him far better than he deserves.

We are introduced to the two Savages. Wendy is late 30s, unmarried, living in New York City, a would-be playwright (about her childhood), a temp who keeps applying for literary grants and who is having an affair with a married neighbour. John, on the other hand, is early 40s, a theatre professor in Buaffalo writing on Brecht, living with a Polish woman who is about to be deported. As played by Laura Linney (receiving an Oscar nomination) and Philip Seymour Hoffman, they are well-delineated characters whom the audience gets to know very well indeed. Philip Bosco is excellent as the obstreperous father.

The film is about middle-aged children coping with their father’s decline, the problems of moving him into a care institution, how to overcome their past hostilities, spending time with their father while coping with their own problems. Many people face these issues every day and deal with them with common sense and commitment. Americans tend to overdramatise the ordinary, making such situations more sensational than they are actually are. Wendy and John behave melodramatically at times. Wendy is moved by feelings and equates responsibility with guilt feelings. John, on the other hand, is more practical, thinks things through and acts decisively.

However, there are many powerful scenes as the children communicate with their father and he slips in and out of reality. Wendy is fortunate in the support she receives from a Nigerian born carer who works well with the father. The experience with their father and with each other brings Wendy and John to some kind of mid-life peace.

With the two leads, there is quite an amount of verbal sparring, some of which is cleverly humorous. There is also soul-searching and facing the true self which is cleverly serious. Audiences who have experienced similar situations will resonate with the issues.

1.The impact of the film? For different generations? For the elderly? For the middle-aged? Audiences identifying with characters and situations? The American culture of ageing and death? For non-Americans?

2.Ageing in the 21st century, in the US and the West, the individual ageing people and the response of family? Their lives? Responsibilities and burdens? Not having the extended family? The institutions and nursing homes? Their style, for the aged themselves, for the families’ comfort? Dementia? Care? Death?

3.The opening and Sun City, the neatness, the bright sun, a geriatric Fantasyland? The exercises, the groups, the sameness of the houses? The residents, the care, the family, Lenny and the toilet, the limits of the carer, his harshness with Lenny, Lenny’s being obstreperous? The carer and his reaction? His writing in excrement on the wall? Doris, silent, getting her nails done, her death? Her daughter selling the house? Lenny having no legal connection? The reactions of Doris’s children – humane or not?

4.The introductions to Wendy and Jon? Their history, their mother walking out, the father and his brutality? Wendy and her writing the play, the description, Wake Me When It’s Over? The finale and the dramatising of the father’s brutality towards Jon?

5.Wendy and her age, single, the reasons? At work, a temp? Her filling in the applications for grants? The later revelation about her money after 9/11? Larry, her reaction to him, the relationship, the dog, the cat, the affair? Her self-betrayal according to Larry? The Pap smear, the message on the phone, her lies to Larry? Her Bette Davis phone-answering? Her reliance on the old classic movies?

6.Jon, his writing, his work, Brecht? His relationship? The Brechtian clue to his behaviour? His work, the reaction to the phone call in the night, to his father’s illness?

7.Jon’s handling of the situation, the meetings, talking with Wendy, with the personnel? Flying out together? Doris’s family, the card, the balloon for their father? Discovering the lack of legal obligations for Lenny? Wendy and her packing up? Going to see their father in hospital, his reactions? The night at the hotel, Jon on the phone, weeping? Leaving, the breaking up of his relationship and his partner going back to Poland? Wendy and her packing, going to her father, exiting the hospital, the awkwardness of getting on the plane, the chairs, his wanting to go to the toilet, taking off his braces, his trousers falling? Arriving in the East? The hostel? The documents, the room, Lenny sharing? His thinking it was a hotel? The discussion of important issues like funerals, power of attorney …?

8.The character of Lenny, the first glimpse, the issue of flushing, eating his cereal, his excrement and writing on the wall, his relationship with Doris, going to the hospital, becoming free, on the plane, his dementia, going in and out? Life in the institution, his settling down, the assistants, Jimmy and his way of helping him? Watching the movies, identifying with New York, watching The Jazz Singer – and the scenes a Al Jolson blacking up, Jon and Wendy and their embarrassment, the black people in the audience? The outings, going to visit Green Hills, his answers to the questions, the issue of the red pillow and not wanting it, knowing and not knowing what was happening, his reaction to Jon, to Wendy, the various visits? Their keeping vigil? His death?

9.Wendy and her situation, her guilt towards her father, the emotional response, discussions with Jon, the relationship with Larry? The letters, the grant, her lie that she had got a grant? Her motivations? Buying things for her father, trying to go more upmarket by going to Green Hills? The trip around Buffalo, Niagara Falls? Larry and his phone calls, his bringing the cat, the plant dying? Her discussions with Jimmy, the play, finding the cat, the impulsive kiss, his honourable reaction? His explaining about death and the toes curling, her looking at her father?

10.Jon as more realistic, the arrangements, his use of time, work, the issue of Thanksgiving, the discussions with Wendy about her abilities, the grant? The decisions? Handling the authorities, the documents, the diner and the questions about his father’s death, coma, the burial? His thesis, his class, getting the news about his father’s death? Issues of Brecht, the Brechtian songs that he was singing? His weeping and thinking? Coping or not? Going to Poland, the possibility of commitment?

11.The carers, smiling, the DVDs, the lady at Green Hills, at the institution, the offhand approach, Jimmy and his concern?

12.Jimmy as a character, from Nigeria, with Lenny, gentle with him, the discussions with Wendy, reading her play, his comments, the kiss, his own stances?

13.The six months later, the play, Larry and the production, Wendy and her coping, talking with Jon, Jon watching the play, weeping, going to Poland? Wendy and her running with the dog – not having been put down? Symbolic?

14.Wendy and her concern about bourgeois attitudes, middle-class whining? Insights? The comparisons with life in Nigeria and the comment on America? Brecht and the different approaches between emotion and thinking? Narrative and argument?

PS I LOVE YOU

US, 2007, 126 minutes, Colour.
Hilary Swank, Gerard Butler, Lisa Kudrow, Harry Connick Jr, Gina Gershon, Jeffrey Dean Morgan, Nelly Mc Kay, Kathy Bates.
Directed by Richard La Gravenese.

This is an unabashed love story that is meant to tug on the heart strings – and will for most audiences who like to surrender to love stories.

The film opens with an argument between Holly (Hilary Swank) and her husband, Gerry (Gerard Butler, late of Phantom of the Opera and 300 where he was Leonidas with a Scots accent). They bicker, reconcile, show that this could be a vigorous happy marriage and then the credits come on. Then, after a few minutes, we are told that Gerry has died of a tumour. No, this is not a ghost story, but Gerry and his spirit do linger long in Holly’s life and grief.

Her tough mother (Kathy Bates) and her close friends (Gina Gershon and a comic Lisa Kudrow) try to shake her out of her reclusiveness and provide a birthday cake – and a letter from Gerry. He has left a series of letters (all with PS I love you) and the film shows how Holly follows their lead and is able, not to bring him back to life, but allow herself to be brought back to life by his loving letters. Since Gerry was Irish, this involves a trip to Ireland with her friends and the chance to meet his family – and an old musical friend (Jeffrey Dean Morgan).

Hilary Swank, we know, is quite a strong screen personality so Holly comes across forcefully even in her grief. Harry Connick Jr has a good role as a barman who suffers from a syndrome that leads him to blurt out the blunt truth of what he is really thinking. And he provides a shoulder for Holly to cry on.

This is a mixture of laughter and tears – and there is a nice piece of information at the end which gives some deeper meaning to what has happened to Holly.

1.The audience appeal of a love story? A story of death, grief? Love after death?

2.The New York settings, apartments, restaurants, streets? The contrast with Ireland, the country roads, the fields, the farms, beauty?

3.The range of songs, the score, the karaoke songs? The symbol of the various characters? The song for Jerry’s funeral?

4.The title, letters, letters from the dead, being alive, bringing Holly alive?

5.The prologue, Holly and her anger, Jerry and his upset, the argument, the tensions, the issue of children, Holly’s mother and her attitude, the apologies, the issue of money, the small apartment, their careers? Jerry going out, coming back, the happy resolution? The possibilities of a happy marriage?

6.Time passing, Jerry’s death? The information, the effect, the funeral, the clothes for the funeral, the wake, John and the business partnership with Jerry, the memories? The jokes? Holly’s mother and her providing the food for the wake? Daniel serving at the bar, his bluntness, saying what he thought? Sharon, Denise and her trying to pick up men? The friends, the support?

7.Holly closing up, in the apartment, watching the movies, Bette Davis and the phone-answering call, miming Judy Garland’s song? Her mother and friends arriving? Cleaning up, getting her to go out?

8.Holly’s birthday, the cake, the letter from Jerry? Holly going out, the further letters, quitting her job, going to the karaoke bar, the memories of her fall, succeeding? The advice to go to Ireland? On the boat, stranded, Billy to the rescue? The memories of Ireland, the night with Billy? Going home, looking for a sign, the shoes, closing herself off from her friends, returning to Denise with the wedding dress, returning to her mother, the truth about her mother’s role with the letters, the final letter?

9.The flashbacks with Jerry, Irish background, the meeting on the road, the discussions, art, falling in love, changing life as we know it …? The marriage, the karaoke, the partnership, the tenderness, Jerry’s character?

10.Sharon and Denise, Denise and her questions to men at the wake, her wanting the kindred spirit, finding Tom, going off with him? The engagement? Sharon and her pregnancy? Their going to Ireland, the news in the boat, losing the oar, Bill to the rescue, the night? Denise feeling cut off, Holly’s return, the gift of the shoes? The happiness at the wedding?

11.Holly’s mother, tough, not liking Jerry, at the wake, her sister coming back for the wake, their support, the truth about her mother, the revelation?

12.The Irish parents – welcoming Holly, the past and their wariness of her?

13.Daniel, as a friend, blunt, his disease, medication, saying what he thought, a shoulder for Holly to cry on, her anguish, his going to the restaurant, leaving, his wanting something personal, the kiss, realising that they were good friends?

14.Holly, the shoes, training, making the shoes, her skills, the catalogue, making a life for herself?

15.The wedding, joy, not sensing Jerry around, letting go of grief?

16.The return to Ireland, taking her mother, the beauty of the countryside, the chance meeting with Billy, the future?

17.A love story – its appeal to a male audience, female audience?

SWEENEY TODD: THE DEMON BARBER OF FLEET STREET

UK, 2007, 117 minutes, Colour.
Johnny Depp, Helena Bonham Carter, Alan Rickman, Timothy Spall, Sacha Baron Cohen, Jamie Campbell Bower, Laura Michelle Kelly, Jayne Wisener, Ed Sanders.
Directed by Tim Burton.

A most impressive film in all departments but one that is definitely not for the faint-hearted nor for those who feel squeamish at the sight of blood.

The story of Benjamin Barker who was transported unjustly from 19th century London because a corrupt judge lusted after his wife and took his daughter as his ward. Barker then escaped from Australia and returned to London for vengeance as Sweeney Todd, aided by Mrs Lovett above whose pie shop he set up his murderous barber’s shop. This tale may have been based on fact or may be fiction or London legend. However, after a play in the 1970s by Christopher Bond which was used by Hugh Wheeler in his 1979 collaboration with the celebrated Stephen Sondheim, Sweeny Todd became very well-known in theatrical circles and the world of music theatre. Sondheim’s musical won eight Tonys and was filmed for television with the original leads, Len Cariou and Angela Lansbury.

Now it is has come to the cinema screen, pared down from three hours to two to accommodate it to audience response to screen as different from response to stage – and with Sondheim’s approval.

Since the director is Tim Burton, his fans know that this will be Gothic horror, musical Grand Guignol. The Oscar-nominated sets and costumes create an eerie London, a squalid East End and Fleet Street with its grimy houses, dirty shops, its markets and sewers. There is a little contrast with the wealth of Judge Turpin’s house but there is some welcome relief in some light-filled and pretty flashbacks to Todd’s married life and the betrayal by Judge Turpin. Later in the film, there is an imagined sequence as Mrs Lovett imagines what life might have been like with Todd by the sea and in a green grass landscape. But, for most of the film, the atmosphere is grim.

Since this is a musical, we do not expect realism. Rather, the heightened stylisation of sets, costumes, characters and their behaviour have the disconcerting effect on the audience that makes it seem not entirely unreal. Most of the dialogue is in song, with Sondheim’s melodious (but not necessarily hummable) songs and his witty wordplay lyrics that also demand a different kind of attention.

The performances are admirable. Johnny Depp continues to display his surprising versatility, an obsessed, morbid Todd whose bitterness leads to physical tragedy and moral mayhem. Depp’s collaborations with director Tim Burton (Edward Scissorhands, Ed Wood, Sleepy Hollow, Charley and the Chocolate Factory, The Corpse Bride) have produced a gallery of sometimes sinister, sometimes endearing eccentrics. His melancholy as Todd is palpable, leading to some kind of sympathy for him which he forfeits as the killings begin. Helena Bonham Carter, also doing her own singing, has also appeared in many Burton films. She is credible as the widow who leads a slatternly life but is infatuated with Todd but who also craves her own family. She finally faces her moral dilemma, an option for Todd or for the orphan, Toby, she has taken in to help with her prospering shop once her pies (filled with Todd’s victims) become famous.

Alan Rickman is well suited to the role of the Judge, Timothy Spall his callous and fawning Beadle and Sacha Baron Cohen creates a different comic character as the charlatan Pirelli.

Sweeney Todd holds a unique position in theatre, a macabre classic musical. Burton, Depp, Bonham Carter and the cast and technical crew have made it a unique piece of cinema.

1.The impact of the film? The familiar story? Truth or fiction? 19th century? Victorian London? Grand Guignol? The Gothic overtones?

2.Stephen Sondheim, his score, lyrics? His reputation? The Tonys for the original staging of Sweeney Todd? Adaptation for the screen? The reduction of the play from three hours to two? Adaptation for the visual style of the screen?

3.The libretto, the style of the lyrics, Sondheim’s love of language, the songs, the recitative, the spoken sections?

4.The range of songs, ‘London’, ‘My Friends’, ‘Pretty Women’, ‘Wouldn’t Harm You’, ‘Pirelli’, ‘Joanna’, ‘Joanna’s Song’ …? As revelations of character? Contributions to the plot?

5.The visual style, the blend of colour and monochrome? 19th century London, the East End, the slums, the wharves, Sweeney Todd’s arrival, Mrs Lovett’s flat, Fleet Street, Mrs Lovett’s café, the streets, the market? The contrast with the judge’s house, the courts? Downstairs at Mrs Lovett’s? The furnace, the baking? The sewers? The contribution of set design, décor, costumes and atmosphere?

6.The nastiness of the plot, the characters? Injustice, the law and cruelty, miscarriage of justice, corrupt judges, truth and lies? Poverty, revenge? Fraud? Violence and self-protection? Growing callousness, the serial killer? The inner humanity, the victim going mad, cruelty? The slitting of the throats? The baking of the pies, the mincing of the meat?

7.The opening credits, the machines, the blood? The cannibalism theme? Man eating man, man devouring man?

8.Sweeney Todd’s arrival, Anthony and his friendship, having saved Todd from the sea? Johnny Depp, his appearance, the quality of his singing? The song about London? His story, life on Fleet Street? Going to Mrs Lovett’s, having the tasteless pies, the gin? Settling in? Mrs Lovett recognising him? Giving him back his knives? His plans?

9.His memories, the beauty and colour, the light? Lucy and Joanna? The tenderness? The judge and the beadle, their spying, the attack on Benjamin Barker, his being transported?

10.The market, Pirelli? Pirelli’s vanity, Toby and the singing introduction to the performance? The tonic, the clients? The charlatan, the fraud with the lotion? Sacha Baron Cohen and his performance? Todd and his challenge? The boy, attending? The singing, the competition, the shaving, Pirelli’s song, lathering up, Todd’s brevity and win? Pirelli’s visit, the confrontation, the revelation of the truth? The threat of exposure and blackmail? Pirelli’s memory of working with Todd as a boy? Todd bashing him, Toby downstairs having the pies, his concern? Putting Pirelli in the trunk, the hand out? Slitting his throat? The issue of disposing of the body? The song with Mrs Lovett, imagining what could happen? The pies?

11.Mrs Lovett’s success, the range of clientele? The fashionable nature of the pie shop? Toby and his working with Mrs Lovett? The old beggar woman and her watching?

12.Mrs Lovett, memories of Albert, making the pies, horrible, the ‘Worst Pies in London’ song, dirty? Recognising Benjamin Barker? Her lie about Lucy poisoning herself? Attracted to Todd, his not noticing her? Knowing his plans? Going to the market, the encounter with Pirelli? Pirelli’s death, robbing the purse? The idea for the pies? Waste not, want not? Supporting Todd, their success? Her treatment of Toby, being motherly? Her decision to help Todd? Singing about no harm coming to Toby, locking him in, with the pies? The song of the fantasy at the beach, lightened colour, happiness, a family?

13.Judge Turpin, evil, his lust after Lucy, spying on her, with the beadle’s help? Taking Joanna? In her room, the peephole? Anthony, the pornography collection? His throwing Anthony out, his threats? Relying on the beadle? The decision to marry Joanna, her rejection? The suggestion that he smarten up, going to Todd for the shave, singing ‘Pretty Women’? The interruption? Todd’s frustration? Joanna, watching Tony, throwing him the key, packing, the judge sending her to Bedlam? Her internment? The judge in the court, the condemnation to hanging – and the revelation that he was condemning a child? The rationalisation with the beadle afterwards? His return to Todd’s, the revelation of the truth, the death?

14.The succession of victims, the songs, the slitting of the throats, the fixing of the chair by Todd, their going through the trapdoor? The beadle, coming in, his being caught?

15.Anthony, young, sailor, love, seeing Joanna, singing, ousted by the judge, his return, asking Todd to take them in, the idea of the wigs, going to Bedlam, singling out Joanna, the threat with the gun? Disguising her? The return to Fleet Street? Joanna, her life, her attitude towards the judge, giving the key to Anthony, the escape, hidden in the trunk, witnessing the deaths?

16.The beggar woman, the information to Anthony about Joanna, her madness, her identity, Mrs Lovett’s lies, her being ousted from the café, her entering, the secret, going upstairs, Todd killing her, discovering the truth, his grieving about his dead wife?

17.Toby, working for Pirelli, discovering the wallet, suspicions of Todd, Mrs Lovett caring for him, appearing in her fantasies at the beach, his fearing Todd, the finger in the pie, locked in, the sewers, finding Todd – and killing him with one of his own knives?

18.Mrs Lovett and Todd, the truth, the dance, the singing, his flinging her into the furnace?

19.Todd, his death, his empty life, a victim, loss, destruction? No gain, no redemption? A man stuck in the depths and unable to extricate himself?

DAN IN REAL LIFE

US, 2007, 98 minutes, Colour.
Steve Carell, Juliette Binoche, Dane Cook, Alison Pill, Brittany Robertson, Marlene Lawston, Dianne Wiest, John Mahoney, Amy Ryan.
Directed by Peter Hedges.

Writer director Peter Hedges has written some very humane films: What’s Eating Gilbert Grape, Pieces of April (which he also directed). Dan in Real Life is in that vein.

The film is a star vehicle for Steve Carell who has proven his comic talents in TV’s The Office as well as his funny turn in Bruce Almighty. He has starred in The Forty Year Old Virgin and was Evan Almighty.

This time he is a widower who still grieves for his wife after four years. He is also finding difficulties in raising his three daughters. Jane the oldest is desperate for a driving licence but Dan fears accidents. Cara, the 15 year old is desperately in love with a classmate and Dan dismisses it as an infatuation. Lily, the youngest, is not desperate but rather is a study pillar for her father. Dan in Real Life is the column he writes for a paper, giving advice on family problems. He is about to be syndicated nationally.

So far, so good and bad. He packs up with the girls to drive to the extended annual family reunion. This family has to be seen to be believed – and serve as an encouragement that the family that plays together stays together. There are the three generations, about fifteen in all – and they enjoy one another’s company.

Enter Marie. Dan has already encountered her in a book shop and, over a cup of coffee, has poured out his life story to her. Her arrival upsets him. He tries to keep his emotions under control but an unpleasant and rude side of his character emerges. Dan has difficulty coping with real life.

Juliette Binoche seems to relish the relaxed atmosphere of the film and having time off from her more serious roles. John Mahoney and Dianne Wiest are the ideal grandparents. Dane Cook is sympathetic as the wronged brother and Emily Blunt has a cameo as a brash doctor.

But, despite the heavier overtones, the film is light, entertaining – something of a ‘if only the world could be more like this’ kind of romantic comedy.

1.The appeal of the film, human, the extended family, parenting, love, truth?

2.The title, Dan’s column, his success, people quoting him, publishing a book? Daniel and his three children, his sense of failure, real life?

3.Steve Carell and his appeal, the ordinary man? The contrast with Juliette Binoche, her vivacity, the touch of the exotic?

4.Daniel and Steve Carell’s style, the little man, the father, his crises, the children ready for school, the issue of syndication, Mark and his arrival, flirting with Cara? Jane and her driving? Lily and her being wise? The round-up to go to their grandparents, the drive, the arguments, the petrol money for their education and his jokes? The arrival, happy family reunion? Staying in the laundry to make way for Marie? Mitch as his brother, his parents and their being genial, the extended family, adults and children? Their urging him to go out? In the shop, the encounter with Marie, explaining all the books for her, having the cup of coffee, talking and talking, explaining himself? Telling the group about Marie and the others urging him to contact her?

5.The introduction to Marie, in the shop, the books, her past relationship, her arrival, the effect on Dan, with Mitch? The consequences, talking, Dan sulking? Flirting and dancing? His rudeness at the table? The reaction of everyone else? Mitch? Taking the kids to the lighthouse and their not enjoying it? Cara and Mark’s turning up? Lilly and her project and his ignoring it? Overhearing Jane talk with Marie? Hiding in the shower and getting wet? Getting out on the roof? His watching Marie, the snide remarks? Everyone worried about him? The concert, singing with Mitch, singing to Marie? Jane and her comments about flirting? His parents, the pep talk, everybody involved? The walk on the beach? The effect on Dan – and audiences identifying with him and hoping that all would be well?

6.The family bonds, everyone together, the meals, the grandmother and her preparing the meals, the games, charades, on the beach, playing, the kids together, the adults together? The adults and their reflection on their families, married life?

7.Mitch and his girlfriends, past history, infatuations, his love for Marie, with her, sharing, the hurt, the truth?

8.The parents, genial, their care?

9.Going out with Rachel, the jokes about her being Pig-face, flirtation, Dan dancing with her, Marie’s reaction, the night out, Mitch later with Ruth?

10.Marie, her participating in all the games, finding the family genial, answering all the questions about her life at the meal, everybody liking her, the girls talking with her? Dan following? The irony of the cars, the police, the tickets, his crashing into the car? His forbidding Jane to drive?

11.The bowls, sharing with Marie, the kiss – and the family catching them?

12.The effect, Daniel humbled, discovering that one could fall in love in three days, allowing Jane to drive, Lilly and the project about her mother, his looking at the pictures? Their all going to find Marie together?

13.The happiness in the final credits, the wedding, everybody enjoying the dance?

ASYLUM

UK, 2005, 95 minutes, Colour.
Natasha Richardson, Ian Mc Kellen, Martin Csokas, Hugh Bonneville, Judy Parfitt, Joss Ackland.
Directed by David Mackenzie.

Asylum is a misleading title for this drama – it makes it sound too much like the title of a horror film, which it is not. Rather, the setting is the late 1950s where a doctor (Hugh Bonneville) is appointed as deputy head of an asylum. His wife (Natasha Richardson) eventually finds the isolation too much and, while she loves her son, she becomes more estranged from her husband and becomes involved with a seemingly charming patient (Marton Csokas). The patient is under the care of the longtime senior doctor (Ian Mc Kellen).

This is a rather downbeat drama – after all, it could scarcely have a happy ending given the dramatic situation. Audiences will be more interested in the characters and their interactions. Asylum offers quite a meaty role for Natasha Richardson, getting the opportunity to play ordinary, flirtatious, obsessed, threatened, shamed and grieving. Ian Mc Kellen has no trouble in being ambiguously charming and sinister while Marton Csokas (resembling Russell Crowe and originally from New Zealand) is passionately doomed as the artist patient.

On reflection, the content and treatment are what we expected. Director David Mackenzie won critical acclaim with his previous film, Young Adam. The screenplay has been co-written by successful playwright Patrick Marber (Closer).

1.The title: madness, obsession, the institution? Asylum for safety – or not?

2.The 1950s setting: mental health, British asylums, people interned, diagnoses, treatment, cures? The staff, counselling, exercises of power? The role of government and government intervention?

3.The period atmosphere, costumes and décor? The British setting? Musical score? Musical themes for characters and situations?

4.Max, Stella, Charlie? A bonded family, family love? The tensions, the clashes? Max appointed to the asylum? His hopes, work, possibilities of promotion? His expertise? Stella, willing and unwilling, with the women’s groups and their discussions, the meetings? Her role as a wife? The servants? Her being bored? Charlie, his age, love, boyish?

5.The staff, Jack and his presiding over the asylum, his leaving, the openings for promotion? His wife? Peter, his role, authority, the Home Office? On the wards? His patients, Edgar?

6.Max, lifestyle, the promotion, his prim manner, his comment on Stella’s dress for the dance, his suspicions, Stella and her trips to London, his suspicion about the gift, her having hidden it for Christmas, his being sorry?

7.Stella, her character, Max’s mother and her disdain? Meeting Edgar, talking with him, Charlie and the fall from the tree, Edgar carrying him in? The visits? The development of the liaison? The passion? In the house? Max’s mother coming back, Charlie seeing Edgar in the house? Edgar’s escape, the car? His not contacting Stella?

8.Edgar as a character, his art, the murder of his wife, his violent streak, madness? At work, the garden, building? The bond with Charlie? Helping him? At play? The sexual liaison, the passion? In the house, his escape in the car? Hiding, his friend in London? Stella’s visits? Stella leaving and coming to him, her boredom, his growing jealousy? The suspicions of his friend? Having to leave?

9.Max’s mother, hard character, her suspicions? Peter, his questions of Stella, his ability to find her in London? The reaction of Max and Charlie to Stella’s leaving? The role of the police, arresting Stella?

10.Stella’s release, her return, the visit to Charlie, the school, going to Wales, the trip, Charlie and his fishing, her abstracted lack of attention, his death?

11.The mystery of her non-action – wrapped up in herself, knowing that Charlie was drowning, letting him drown or not? Her reaction when she came to?

12.The funeral, all present at the funeral, Max and his diagnosis? Peter and his intervention?

13.Stella, interned, her treatment, Peter and his proposal, going to the dance, Edgar not there – and her going up to the top of the roof, throwing herself down? Her last words?

14.Peter, his motivation, his relationship with Edgar? Stella, having power over her? The end?

15.Edgar, his being treated, his silence, the issue of the dance, his grief?

16.The overwhelming atmosphere of tragedy and pessimism in the film?

THE GAME PLAN

US, 2007, 110 minutes, Colour.
Dwayne Johnson, Madeleine Pettis, Kyra Sedgwick.
Directed by Andy Fickman.

Disney 21st century storytelling.

With Billy Elliot we had the confrontation between football and ballet leading to a sensational victory for ballet. The Game Plan takes on the same confrontation but… Football and ballet are not mutually exclusive; they both have an extraordinary athleticism; there is a place for mutual admiration. They can be reconciled and live in harmony. And this comes courtesy of that good sport (in all senses) Dwayne ‘The Rock’ Johnson.

This is a film which needs a warning that audiences who can’t stand sweetness and light, who can’t stand precocious, dominating American children, who dislike the predictable and, especially, happy endings all round, will find it hard to sit through. On the other hand, those who don’t mind all these ingredients at all (well, the domineering children are still pretty hard to take) will find it an audience-friendly film.

Dwayne Johnson has shown quite some versatility in his acting since he was one of the silent heavies in the Mummy franchise as well as being The Serpent King. He did a very funny turn in Be Cool. He brought his sporting authority to The Gridiron Gang as well as providing strong male role modeling. Here he is one of the most narcissistic of sportsman, a footballer whose name is (symbolically) Joe Kingman (emphasis on the King). Needless to say, his favourite singer is Elvis. And his self-adorned apartment has to be seen to be believed. His performance makes you wonder about many of the highly overpaid real life sports celebrities and their pampered egos. He also transcends W.C.Fields’ warning against acting with children and animals. The Rock more than holds his own with a little girl and a dog.

That accounts for the football.

Enter his unknown eight year old daughter. She is eight going on fifty in her worldly wisdom, her skills in manipulation, her handling of the press, her ambition… Are many American little girls really like this? She accounts for the ballet. Actually, Joe is roped in to perform in the school concert as a dancing tree much to the amusement of the team who finish up applauding wildly. Reconciliation.

There is quite an amount of slapstick – and pratfalls at Joe’s expense. There is really no need to say that Joe mellows and looks forward to parenting (though I am not sure that the daughter mellows – perhaps she will with a strong father-figure).

Kyra Sedgwick does a caricature turn as a sports agent which would make the unreformed Jerry Maguire envious!

The ending has the whole cast singing and dancing to an Elvis song which leaves everyone in a happy mood for dancing in the aisles.

1.Disney family entertainment, 21st century style?

2.The world of football, the world of ballet? The contrasts, comparisons, athleticism, admiration – and a reconciliation?

3.The Boston settings, the city itself, stadium, ballet school, apartments, theatre, the locker room, press conferences? Authentic atmosphere?

4.The musical score, the contrast with the background to the football, to the ballet? Songs?

5.Family themes, relationships? Marriage, children, divorce? Secrets? The consequences? Issues of parenting?

6.The Rock as Joe Kingman, his comic style, self-deprecating? Slapstick? Kingman as his name, his image, the credits, his apartment, the images, Elvis, the songs? The commentators on Kingman? His behaviour, his pay, sponsorships? His apartment, self-centred? The team, relationships? Stella as his hard-bitten agent? Television commercials? Adulation? The fans? Watching himself on television and mouthing his words? At training? His vanity, the parties, self-absorbed, the girlfriend? Yet the screenplay and the performance poking fun at this kind of character?

7.The daughter, her arrival? The concierge ringing her up? Her strong character, direct, her image of her father, the background story, her mother in Africa? The reality and her mother having died, the aunt looking after her, her box, Joe finding the note from his wife? The aunt, her calls from Africa, care?

8.Stella, the agent, “Show me the money …”? The deals, the pressure, her irritation with the little girl, her smoothing up to the sponsors, protecting Joe?

9.The comedy of mishaps, the daughter too strong, wilful, demanding, spoilt? Defying Joe? The mess in the apartment, the dog, the tutu, taking the big bed, the blender and splashing everything, the destructive elements of the comedy? The New Year’s party, her being left behind? The press, the images, the bad dad? Her taking over the press conference, the journalists’ response, Stella’s response? Endearing herself to them? At home, her demands on her father? The ballet, the interview, the dancing? The allergies and her talk? His allergy and his talk – and lisping during the commercial? Her father’s exasperation? The visitors and their watching the TV game, her switching channels? The interviews with the nanny – and Stella firing the nanny? The return of Joe’s girlfriend and their interactions?

10.The team, the good husband, his good advice, the other friends, the dumb player and his comments about being stupid …? The silent giant?

11.The ballet, the daughter’s skills, the introduction, the teacher not knowing who Joe Kingman was, her treatment of Joe, his having to sit and watch? The girl and her persuasiveness, her performance, practice? Joe participating, as a tree? The teacher, her personality, encouragement of the girl? The concert, the team arriving, their laughter, applause? Ballet winning?

12.The girl and her allergy, being taken to hospital, Joe desperate, the aunt’s arrival, the revelation of the lies and the truth? Joe going to see his daughter? The interview on the television, the daughter seeing it, the aunt and the daughter deciding to go to the match?

13.Joe, being interviewed about what the best thing in his life was, becoming less self-centred, the hospital, going to the match, his not playing well, the commentators in the box, his being injured, the team effort, the daughter and aunt coming, encouraging Joe? His playing and the success of the team?

14.The ballet sequences, their length, detail, athleticism? The football play, the plans, the skills, athleticism?

15.The happy ending, the Elvis song – and the whole cast joining in and enjoying themselves, an exuberant finish for the audience?

SHADOWS IN THE SUN

UK/Italy, 2005, 96 minutes, Colour.
Harvey Keitel, Joshua Jackson, Claire Forlani, Giancarlo Giannini, John Rhys- Davies.
Directed by Brad Mirman.

Shadows in the Sun is a pleasing, easy romantic film set in Italy. It is a great draw for audiences to be tempted to go to Tuscany, so beautifully is it filmed.

The plot concerns an author who has been out of circulation and not writing for twenty years, after the death of his wife in a car accident. He is played by Harvey Keitel. In the meantime, a British entrepreneur in publishing (John Rhys- Davies) sends one of his employees to persuade the writer to write again and make a lucrative contract. The young man is played by Joshua Jackson of Dawson’s Creek. Claire Danes is pleasing as Keitel’s daughter. Giancarlo Giannini is the local parish priest – seen mainly eating, quaffing a great deal of wine, offering good advice.

The plot is familiar, the focus is on the novelist and his eccentric way of life, his resistance to the offers of the young man, his growing interest in the young man and mentoring him to be a writer himself. Needless to say, there are happy endings all round, especially with the help of the parish priest, a story about a bird whose wings were wounded, and the connivance of his mother to be able to persuade the young man to stay in Italy.

1.A pleasingly romantic story, optimistic? The familiar story of the recluse writer, the ambitious young man, falling in love with the author’s daughter …?

2.The title, Tuscany and the sun – and the shadows of life?

3.The London settings, the details of the city, the office? The contrast with Tuscany, the small village, the beautiful countryside, the herds and flocks, the bars, the church? The musical score? Songs?

4.The introduction to Jeremy, his life, in the United Kingdom, going to work, the bus ride, the office, the discussions with Benton? The job, going to Italy, persuading Parish to work again? Issues of contract, money? Benton and the phone calls throughout the film, the pressure?

5.Jeremy going to Italy, its beauty, the attractive countryside, his arrival, Gustavo and the cases, no tip? Gustavo and protecting Parish? Jeremy asking everyone, their not knowing anything? The postman, the parcel, Jeremy following him? Encountering Isabella, her warning? Going to the cellar, Parish pretending to be mad? Jeremy’s failure, the return, overhearing Gustavo’s phone call? Going to meet Parish, his setting the dog on him? His talkings with Isabella, his feelings about Parish’s novel and the influence it had on him as a boy, his own vocation? Going to Parish again, the inn, buying the drinks? Meeting the Parish priest? Gustavo always present? The drinking, their tying him up, throwing him in the pond? The encounter with Mc Bain, the rivalry between the novelists, Mc Bain punching him? Going to the pond, Parish and his naked son bathing, Jeremy’s embarrassment? Beginning of a friendship?

6.Jeremy in himself, uptight, living alone, his ambitions to write, his admiration for Parish, with Parish, the talks, the humiliations, starting to write, the Scottish novelist, the attraction to Isabella, the meals with her, talking, falling in love?

7.The meals, the outdoor meal with the family, Isabella and her sisters, Gustavo, the parish priest? The drinking and good fellowship?

8.Harvey Keitel’s portrayal of Parish: his successful novel, his wife and her death, his grief, his love for his daughters, their families, marriages, Isabella at home? The twenty years? His lifestyle, the criticisms by the Scots novelist? With the cattle, the grapes? His friendship with the parish priest, with Gustavo? Easy relationships? Protecting his privacy?

9.Parish’s advice to Jeremy, his fears, the typewriter, not the computer, the fight with Jeremy, the challenge? His writing, change of heart?

10.Jeremy, his being challenged, talking with the priest, getting ideas, the manuscript? The talk with Parish, the mutual challenge, the fears, Parish’s breaking down?

11.The priest, good fellowship, drinking, eating, his story of the bird with the wing – and using his mother to tell the story on the train and bring Jeremy back to Isabella?

12.Gustavo, the hotel, the Italian attitude, friendship with Parish, present at all the events?

13.Isabella, her age, sympathy, talking with Jeremy, the warnings about her father, the meals and the drink together, the relationship, the sexual encounter, her reasons, her choices, the horses, going riding with Jeremy, staying in Italy – and the end and Jeremy coming to her?

14.Jeremy on the train, his decision, the old lady, the irony of the priest’s mother? The story of the bird? The change in Jeremy – and a warmer future?

RIVER QUEEN

New Zealand, 2005, 114 minutes, Colour.
Samantha Morton, Kiefer Sutherland, Cliff Curtis, Temuera Morrison, Anton Lesser.
Directed by Vincent Ward.

River Queen was directed by Vincent Ward who initiated the story and co-wrote the screenplay. However, tensions arose on the set and he was sacked from the film for some time, finally returning to it. In the meantime, his director of photography, Alun Bollinger, directed the film.

The film did not receive wide release. However, it is an interesting contribution to the 19th century history of New Zealand. Films about that period include The Piano and Geoff Murphy’s Utu.

The film focuses on a young woman, her father being a military man in an outpost in New Zealand. She is attracted towards a young Maori man, bears a child, he dies of illness, the Maori grandfather abducts the boy. She searches for him for many years. The context is the Maori wars and she becomes involved, healing the chief, attracted towards one of his men, meanwhile in contact with the British leader (Anton Lesser) and a friendly Irish soldier (Kiefer Sutherland).

The film shows some of the battles, very small-scale but significant, and the tactics used by the Maoris and the British. The film was also the story of legend – the legend of the River Queen, her Irish and English background, her involvement with the Maoris, the battles, her survival.

Samantha Morton is strong in the role. Kiefer Sutherland is persuasively Irish. Veteran New Zealand actors Cliff Curtis and Temuera Morrison (Once Were Warriors) are strong screen presences. Stephen Rea has a cameo as Samantha Morton’s father.

Vincent Ward has directed few films: Vigil, The Navigator (AFI awards for best film and director), Map of the Human Heart, What Dreams May Come.

1.The New Zealand background, story, interest, history, questions, themes and issues?

2.The photography of the locations, the coast, the interiors, the rivers and mountains? The use of highly bright colours? The musical score?

3.The contribution to an understanding of New Zealand history, the outpost of empire, the colonial attitudes, the role of the Maoris, the invasion of the land, some Maoris siding with the British for survival, the opponents? A 21st century interpretation of this history?

4.The title, the focus on Sarah, as daughter, as wife, as mother? As healer? A mystery woman? The legend?

5.The credits, the scrolls and the lettering in the water, beginning and end, the voice-over from Sarah, telling her story, interpreting it, talking of the effect of writing the story and the possibility of healing?

6.Sarah, growing up in the outpost, relationship with her father, his tough attitudes, her pregnancy and his disdain, helping with the birth? His leaving with Sarah’s sister, her never seeing them again? Her attraction to the Maori boy, fathering her child, his premature death?

7.The British and their attitudes, the Maoris pro and con? Baine as the British, leader, his colonial attitude, severity, the letter of the law, the expeditions, the brutality, the shootings? Wiremu and his help? Moving away? The cousin and his remaining with the British?

8.The portrait of the Maoris, the different groups, the grandfather, the importance of the tattoos? The grandfather taking the young boy, Sarah’s grief, the English and the grandfather being shot? The tensions within the family?

9.The years of search, Sarah being alone, the frustration, the details of her life, wandering, her skills? The healing of the chief, his gratitude, the new name, the effect, the beginning of the legend?

10.Her finding her boy, his anger with her, saying that she did not search for him? His hostility, being with the Maoris, his choices? Involved in the military? With the chief? With Wiremu?

11.Wiremu and his character, his life, with the British, with the chief, support, his love for Sarah, rescuing the boy? Being shot, survival, the family?

12.The portrait of the battles, the explanation of the strategies, the Maori trenches, the slaughter, the bayonet woundings? The boy and his danger, his escape?

13.Doyle, Irish background, in action, genial, friendship with Sarah, friendship with the boy? With the army, in action, his stances, injuries, saving the boy, Sarah saving him, tending him, his death? Being laid out?

14.Sarah and the war, the involvement, her attitudes, concerns, her care for Doyle? For Wiremu Curtis?

15.Baine and his plans, searching for Sarah? Going up the river? The confrontation with Curtis, with the boy? Wounding and shooting Sarah?

16.The escape, the three and their survival, the voice-over and the legend?