RADIANCE

Australia, 1998, 85 minutes, Colour.
Deborah Mailman, Rachael Maza, Trisha Morton- Thomas.
Directed by Rachel Perkins.

Radiance is based on a play by Louis Nowra and was filmed on the Queensland coast. The plot device is familiar. A mother dies and her three daughters come back home for the funeral - they talk, they clash, truths are told, they are able to make a transition from unhappy past to a future with hope. What is different is that the family is aboriginal and the hurts of the past and the truths told reveal not only to the woman but also to the audience a great deal of the hidden suffering and hardships, the lingering hurts of aboriginal women.

It is the zest for life and the ironies of the situation that carry the film along with the fine performances of the three women, especially Deborah Mailman as the young and exuberant Nona.

This film touched a nerve at Sydney and Melbourne festivals, winning the most popular film awards. Produced impressively on a small budget, it has much to say (and to feel) about Australian society. Topical and moving.

1.Australian interest? Aborigines? Queensland? The heritage of the past? The present?

2.Queensland settings, the fields, the crops, the sugar cane, the fires, the sea and the island, the pier, the house, the beachfront? The musical score? The excerpts from Madame Butterfly?

3.The title: the initial flame and matches, the sun and its glow, light, colour, the ashes swirling in radiance? The radiance box, its sweet smell? The combination of the symbolic and the mundane?

4.Louis Nowra, his plays, the adaptation for the screen, the three-hander, stagebound, the locations, opening up the characters and the plot, the car, the fields, the beach? The emphasis on dialogue? The blend of the realistic and stylised?

5.The prologue and the matches, Nona, her testing herself for the pregnancy, her reaction, her return home?

6.Nona, the phone call, her mother’s death, talking with May, the return? May’s reaction? Putting Nona down? Wondering whether Chrissie would come or not? Her arrival?

7.The dead mother as a pivotal presence: the impact of her death, the photo in the house, her glamour, her reputation, following the rodeo trail? The Black Prince and the men in her life? Her dying in the chair? The priest’s version at her funeral? Human and flawed? Her reputation as a witch, the boys throwing stones on the roof? No-one at the church? May, her memories of her being given away, staying home, caring for her mother, going out and screaming, the mother’s antagonism, not expressing any love? Her keeping Nona, her giving Chrissie to the nuns? Nona and the special visit to the convent to see Chrissie, without her awareness? Chrissie, leaving home, no contact, the return, the effect, in the church? The singing of ‘Amazing Grace’?

8.The priest: realistic and caricatured, his sermon, his talking about the mother’s being flawed, his sexual stare at Nona? His delivering the ashes? The Catholic background, the mother staying a Catholic, Chrissie going to the nuns, the picture of the Sacred Heart?

9.Nona, the focus of the film, her age, moods, thinking of herself as a slut, Chrissie calling her this, like her mother, going away, pregnancy, the conflict with the father, her black eye, Chrissie and the makeup? The return, staying, her devotion to her mother? The dresses for the funeral, appropriate or not, Chrissie giving her the scarf? Weeping at the church? Her up and down moods? Getting the box, wanting to scatter the ashes, the radiance? Chrissie going to the airport, Nona causing the delay, Chrissie’s return? Going under the house, getting the radiance box, tugging and the spilling of the ashes, the three sisters laughing? Her interaction with the sisters, listening to the stories, not believing the stories about her mother? Her response to May, response to Chrissie? The rain, in the car, going on the beach? Her imitating Madame Butterfly? Chrissie’s hard words, the slap? The issue of the burning of the house, her wanting to go to the island, her reaction? The telling of the truth, the discovery about Chrissie? Her idealising her mother, the Black Prince? On the pier, diving, going to the island, scattering the ashes? Her return – and talking to Chrissie, not calling her Mum?

10.Chrissie, the opera background, the CD, her style, dress, return, coming for the sisters rather than her mother? The effect, the talk? Tensions? Nona and the dress, giving her the scarf, at the church, not joining in the hymn? Going back, wanting to go to the airport, the delay, their taking her back to the house? The issue of the ashes? Nona’s performance and Madame Butterfly? May and her bitterness? Chrissie and her tension about Nona going under the house, slapping her? The story of the rape, the truth, on the beach? The fire, the intensity, May bringing her out? Her future relationship with Nona?

11.May, older, a hard life, given away, her return, bitterness, driving, busy in the house, at the church, the ashes, in the wedding dress, the lay‑by? Harry and the truth? His wanting back the house? Urging Chrissie to tell the truth? Her eagerness in wanting to burn down the house? The effect? Her mellowing? Her needs?

12.The action taking place over one day, the focus on the sisters and their mother, portraits of the three women, the interactions, the importance of the Aboriginal heritage, hardships? Their future?

ROGUE

Australia, 2007, 90 minutes, Colour.
Rhada Mitchell, Michael Vartan, Sam Worthington, John Jarratt, Heather Mitchell, Stephen Curry, Barry Otto.
Directed by Greg Mc Lean.

The end credits singing of ‘Never Smile at a Crocodile’ took something of the edge off the scary experience of imagining oneself with this group of tourists menaced by a giant rogue crocodile. Obviously, the film-makers wanted us not to take the film too, too seriously.

Well, maybe the film-makers did but the Northern Territory government certainly would not. After all, the tourism trade must have suffered something of a blow after Greg Mc Lean terrorised his characters and the audience with the dire torture and deaths at Wolf Creek. Come to think of it, it is amazing the government let him back into the territory to make Rogue after Wolf Creek. At least this time there is no compulsion for tourists to go on a river ride to see crocodiles. Having been on the Daly River some years ago and looking at the (rather small) crocodiles basking on the banks, I was ready to empathise with the characters and the dangers – and did.

We open with an American travel writer (Michael Vartan) who has strayed into Crocodile Dundee territory and finds himself with the Crocodile rather than the Dundee and in a Jaws situation. A motley group of tourists begin their ride under the guidance of the vigorous and engaging Rhada Mitchell. (Oh, and for a momentary scare, who should be one of the passengers but John Jarratt, late of Wolf Creek, with a sinister moustache and hat – but he is one of the good guys so we can relax, momentarily).

The film is brief. The territory landscapes and river are stunning – and inviting for the tourists. The crocodile does his expected thing, crunching a couple of the characters before an eventual battle of wits between the American and the rogue.

I suppose we expected a bit more this time from Greg Mc Lean but the film has its moments (and for those who don’t like crocs, there are quite a number of moments).

1.Expectations of the film? From Greg Mc Lean and Wolf Creek? From the animal menace genre? For Australian menace and the Northern Territory?

2.The Northern Territory locations, the rivers and mountains, the vast plains, the beauty, flora and fauna, the score?

3.The familiarity of the plot, the characters, the journey, the squabbles, the menace, danger, people taken by the crocodile, using wits for survival, conflict, victory?

4.The introduction of the American, arrival, no luggage, meeting the man in the bar, the poor coffee and the cockroach, the Aborigines in the background, the Northern Territory laidback atmosphere?

5.The excursion, Kate as leader, her assured manner, a Territorian, her spiel for the tourists, the jokes, flies and heat, the members of the group, Peter and his journalistic background, travel writer, contacting Chicago? Russell, his severity, his wanting to get his connection? Simon, casual? The English lady? The couple and their concern? The family?

6.The opening with the buffalo grazing, the crocodile, being taken? The indication of themes to come? Preparing the audience? Tension?

7.Neil and Colin, the boat, showing off, the argument with Kate, with the members of the tour? The upturning of their boat? Their return, the crocodile, Colin’s death, Neil, his help, using his wits, swimming across the river, the rope, his being taken?

8.The flares, going to the rescue, the disaster, the boat being overturned by the crocodile, everyone getting to shore, the crocodile, the attack, the rogue crocodile, the theories about territory, hoarding food?

9.The reactions: the woman wanting to go first, her fear, freezing on the rope? The father, his concern about his family, his getting them all on the rope, the weight, its breaking? Neil, his being taken? The wife and the daughter and the survival? Simon, his reactions, criticisms? The English lady, helping? Russell, his decision to help, his collaboration? Pete, help, with Kate, going onto the boat for the first aid, getting the hook?

10.Audience tension in identifying with the characters, the danger from the crocodile? Coping? Pete and the hook? The group swimming to safety? Kate and her dog, her control, her being taken? Pete getting across, safety, the group lost, his falling into the lair? The crocodile’s attack, taking his hand? The death of the dog? Finding Kate?

11.The confrontation with the crocodile, the stake and Pete’s killing it? Carrying Kate, the helicopter and the rescue?

12.A genre film – audiences familiar with the general lines of what will happen? But successful?

MODIGLIANI

UK, 2004, 123 minutes, Colour.
Andy Garcia, Ojid Djamili, Elsa Zylberstein, Hippolyte Girardot, Udo Kier, Miriam Margolyes, Jim Carter.
Directed by Mick Davis.

Modigliani is based on the life and career of the Italian artist, Amadeo Modigliani. He was a Sephardic Jew from Livorno – who went to France, joined in the artists’ café society of post-World War One Paris. He was a friend/rival of Picasso. He died young, a victim of self-absorption, self-destructive attitudes, drugs and alcohol.

The film shows something of his career, his relationship with Picasso, with other artists in Paris at the time including Utrillo and Diego Rivera, his relationship with a young Catholic woman, Jeanne, the mother of his child.

However, the film says at the beginning that it is a fictionalised portrait of the artist, an interpretation of his life and career and its meaning.

Andy Garcia is far older than Modigliani was at the time of his death. British stand-up comedian Ojid Djamili is an unusual choice as Picasso. Elsa Zylberstein is Jeanne. The Paris society at the time included entrepreneur Max Jacob, portrayed by Udo Kier, and American writer Gertrude Stein, portrayed by Miriam Margolyes. Jim Carter has a strong role as Jeanne’s bigoted and domineering and abusive father.

The film was written and directed by Scots director, Mick Davis. The setting is only twenty to thirty years after the time of Toulouse Lautrec and the other artists of the Moulin Rouge. A cinema companion piece would be James Ivory’s Surviving Picasso with Anthony Hopkins as Picasso.

1.The film as history? A portrait? Fictional interpretation? Interconnections?

2.Paris, 1919, post-World War One, the cafés, café life, the arts, the musical score? The reproductions of paintings?

3.The audience knowledge of Modigliani, his life, his art, Jewish background, prejudice?

4.The effect of a fictionalised biography? Portrait? How much insight into the artist?

5.The narrative, direct, Modigliani in 1919-1920, the flashbacks, his childhood, the device of himself as a young boy appearing, being a conscience? His walking of hand-in-hand with Picasso at the end?

6.Andy Garcia as Modigliani, Djamili as Picasso, the various artists, Utrillo, Jeanne, Gertrude Stein, Max Jacob, Jean Cocteau?

7.The introduction to Modigliani: the sketches at the café, the crowds, the exuberance, the clown? Picasso and Olga, Gertrude Stein and Jacob? Cocteau? The variety of artists? The build-up to the competition? His encounter with Jeanne, at the art school, the liaison, the child, his living with her, her passion? His habit of running away? His decisions, the conflict with Jeanne’s father, his anti-Semitic prejudice? His mother-in-law, her care, going to the orphanage and bringing back the child? His painting? The competition, his refusal, the agent and persuasion, the discussions, arguments, the rivalries with Picasso? His drinking, the drugs? The imagination of Utrillo in the asylum, his visit? Picasso and his taunt, using his painting as an empty canvas? Signing for the competition, painting Jeanne, her pregnancy? Completing the painting, its being hung, his drinking, his being bashed outside the bar, in hospital, his getting the licence for the wedding, the beginning of a new life, his death?

8.Jeanne, her background, parents, her bigoted father, his abuse? Meeting Modigliani, infatuated with him, the liaison, the baby, her passion, her conflict with her father, the support of her mother? Posing for Picasso, the gift? The moments of happiness, her pregnancy? Sitting for the painting? Her pleasure at its acclaim? His arrival home, the blood, going to the hospital, his death, her not being able to live without him, her suicide? The close-up of the gravestones?

9.Picasso, in himself, his success, relationship with Olga, in 1919, Paris, art, reputation, his personal life, in the cafés, friendship with Cocteau, painting, taunting Modigliani, the rivalry, painting Modigliani for the competition, leading the applause, the information about his last breath and saying Modigliani’s name?

10.Utrillo, his drinking, mad behaviour, in the asylum, his painting this for the competition?

11.Diego Rivera, the other artists, the painting of the carcass, the military, the women? Modigliani in this vein, his nudes, his exploration of the body? Using the techniques of Picasso and others at the time?

12.Parisian society, Gertrude Stein and her eminence, writing, Cocteau and his influence, Max Jacob, the entourage?

13.The agent, his support of Modigliani? The paintings in the competition, unveiling, their skill and acclaim?

14.Art, style, achievement? Art history via drama?

THE TESTIMONY OF TALIESIN JONES (SMALL MIRACLES)

UK, 2000, 93 minutes, Colour.
John- Paul Macleod, Jonathan Pryce, Geraldine James, Matthew Rhys, Robert Pugh, Griff Rhys- Jones, Ian Bannen.
Directed by Martin Duffy.

The Testimony of Taliesin Jones won a number of awards, especially at children’s film festivals (including Chicago and Berlin). It is a moving story focusing on a twelve-year-old excellently played in low-key manner by John- Paul Macleod who also does the voice-over. The setting is Wales, Jonathan Pryce is his father, Geraldine James is his mother who has walked out on the family. Matthew Rhys plays his older brother. Also in the cast are Griff Rhys- Jones as a sympathetic schoolteacher, Robert Pugh as a sympathetic fruit seller and Ian Bannen as an old man who has a mystical power of healing by touch.

The film shows an intelligent young boy, a bookish boy rather than an athletic type, though he loves football, who is continually reading, asking deep questions and puzzled about religion. The film explores aspects of religion, especially stages of growth in faith. The boy believes while his family doesn’t. When he meets the healer, he shares in his power, especially in the healing of an elderly woman. In fact, warts on his hand are also healed. He wants to give testimony to God but is rather ignored by the clergyman at the parish.

He forms a group and they try healing themselves, especially with a diabetic – which does not have its effect. In trouble with the authorities and the boy’s mother, and the criticisms of the family as well as the death of the old man, all lead to a loss of faith by the young boy. However, the teacher explores the nature of faith, the fact that things can’t be proven, that one must allow for the reality of faith (the basic meaning of the word ‘belief’).

The film is set in the real world, a family disrupted by the mother leaving, the anger of the older brother, the stoic acceptance by the father who does burst out at times in anger. There are the realities of school, bullying at school. However, the film is interesting in its presentation of religious themes for a popular audience.

1.A British production, the setting in Wales? The adaptation of a novel?

2.The portrait of a family, the flashbacks to the family together, the picnic, discussions, maps, fantasies about travelling? The reality of break-up, the effects on husband, children? Issues of religion and faith? Miracles and healing? Loss of faith? Definition and explanation of faith?

3.The title, the focus on Tal, his experience and testimony? The alternate title of Small Miracles?

4.The picture of Wales, the village, the countryside, the trips to the city, school and home, church? Musical score and mood?

5.The introduction to the Jones family, Tal’s voice-over? His character, issues, his asking questions, Genesis and Creation, God and faith? Literal meanings? Imaginative meanings? The place of his mother, in his memories, her leaving, her motivation, the effect? His father and his being stoic as well as fair to his ex-wife? Jonathan and his anger, his moods, his criticisms of Tal, teasing him? The phone calls to their mother? Packing her things? Her birthday, the visit, her return for the furniture, meals with the family, angers, upset, concern for Tal and his illness, the planning of the divorce? Her boyfriend? The future?

6.Tal and his age, birthday, becoming twelve, his father and his support, Jonathan and playing in the cave with him, imagining the dragon? Jonathan teasing, criticising about faith? At school, the teacher, the discussion about religion in class, Neil and his cynical comments about nobody believing? Anti-religion and stances? The family not believers? The background of the Welsh Church, the woman doing the reading, spirituality, the raising of Lazarus and other miracle stories?

7.Tal and his books, Genesis, literal interpretation, the storekeeper giving him the apple, discussions about pomegranates, the church and texts?

8.Billy Evans? Meeting him, the piano lessons, sympathetic talk, Billy’s reputation as a healer, his being religious, a man of faith, the woman coming for the laying on of hands, inviting Tal to lay hands, the woman being healed? God, God’s instrument, prayer? Tal intrigued, asking for the healing of his warts? Its not happening immediately, playing football with Jonathan, taking off his gloves, discovering his hands were healed? His wanting to give testimony, going to the church but the priest ignoring him? His group, called a gang, trying to heal the diabetic boy, the reaction of the boy’s mother, of the teacher? The discussions with Tal?

9.Billy’s death, the minister arriving, Tal wanting him to resuscitate Billy, quoting John 11 and Lazarus? The minister’s response?

10.Tal and his visit to his mother, her boyfriend, their talk, the meal, his hair being done, accepting his mother’s leaving, his mother wanting more in life?

11.Billy’s death, the criticisms, losing his faith, going into the cave, Jonathan rescuing him? His illness? Billy appearing to him, saying he was with him always? The teacher’s visit, the explaining of the word ‘belief’ and making allowances for faith? His going to school, to the assembly, giving his testimony, proclaiming his faith, not having certainty? Neil and his interjections, later asking him to heal his hand, trying to have faith and praying, making an appointment for another laying on of hands?

12.Issues of faith, belief, allowing for faith, the impossibility of proving faith? Billy’s appearing, Tal’s observation that one can’t see the sun but sees its light and the same with Billy?

13.The exploration of a younger boy’s handling of the realities of life, family, going deeper, growth and stages in faith?

THE DEATH KISS

US, 1932, 71 minutes, Black and white.
David Manners, Bela Lugosi, Edward Van Sloan, Adrienne Ames, John Wray, Alexander Carr.
Directed by Edwin L. Marin.

The Death Kiss is a brief murder mystery thriller. It begins as if there were a mob killing of an innocent victim outside a hotel. However, it soon appears that this is a film set – but that the murder is real. Most of the action takes place in interiors, especially on the set and in various offices as well as homes.

The film stars David Manners, Bela Lugosi and Edward Van Sloan who had all appeared the previous year in the classic Dracula. Their performances are quite different here – especially Lugosi, with the audience suspicious of him, but innocent of the murder.

There is some patter between the hero, a scriptwriter of murder mysteries played by David Manners, and the chief detective played by John Wray. The patter between them is in the hardboiled American detective tradition.

The film is complicated in its setting up clues, the policeman following obvious signs but the writer pointing out the difficulties in his theories every time. There is a set-up at the end, with a restaging of the death scene and the revelation that the film director is the culprit, wanting to kill his star because of his relationship with his wife.

The film was directed by Edward L. Marin, a veteran director of quite a number of small-budget and genre films – some of which remain quite well known in their genres.

1.A popular murder mystery? 1932 style?

2.The black and white photography, the sound engineering, camera movement – early in the sound era? The action generally being confined to indoors?

3.The opening, the atmosphere, the femme fatale, the kiss, the shooting? And the actual murder? Suspicions on the actress? On the manager? On Chalmers? The various motivations?

4.The focus on Joseph Steiner, Bela Lugosi, seemingly sinister but friendly, the manager, under suspicion – but innocent?

5.Leo A. Grossmith as the president of the studio, his Jewish exclamations, his tangling of grammar in the Samuel L. Goldwyn vein? Under suspicion? His assistant, the effeminate type and the jokes about his effeminacy, especially when the security guard thinks he is the murderer?

6.Drew, his manner, relationship with Marcia? His interventions, his humour? His interactions with Sheehan, Sheehan and his dry tone, irritated by Drew, listening to his explanations, finally agreeing with him? The jokey banter between the two?

7.Marcia, the leading lady, the divorce from the murdered man, under suspicion, her car battery used to murder Chalmers?

8.The ingenuity of the murder, the set-up of the gun, within the camera? The poisoning of Chalmers – and his complaints about being fired by the star?

9.The director, his being present – but not under suspicion? The revelation that he was the murderer?

10.Conventional characters for this kind of murder mystery, the police, the investigation, the complications, the photography of the melee at the end when the lights went out – a significant use of camera, light and dark in 1932?

THE YOUNG VICTORIA

UK, 2009, 98 minutes, Colour.
Emily Blunt, Rupert Friend, Paul Bettany, Miranda Richardson, Mark Strong, Jim Broadbent, Harriet Walter, Rachel Sterling, Jesper Christenson, Thomas Kretschmann, Julian Glover, Michael Moloney.
Directed by Jean- Marc Vallee.

Here is a worthwhile period drama and glance back at English heritage. It has beautiful and regal settings (including the interiors for Buckingham Palace), attractive locations, lots of regency costumes and everything to delight audiences who relish the look of a film. But, it has a lot more for those whose appreciation of detail is more 'big picture' and cursory. It takes us back to the late 1830s and someone we have rarely met or even know about, the young Victoria.

The film also has the advantage of a solid performance by Emily Blunt who takes us inside the mind and feelings of the young princess and the young queen. She is nicely matched by Rupert Friend as Prince Albert (after his somewhat wooden performance as the effete hero of Stephen Frears' Belle Epoque film, Cheri), bringing him alive as a person and not merely a consort let alone the person who lingered for forty years as a memory in Victoria's life. And the fine acting extends to the supporting roles, Paul Bettany as a youngish Prime Minister, Lord Melbourne (the actor being almost twenty years younger than Melbourne was at the time), Miranda Richardson as Victoria's dominating mother and Mark Strong as her Svengali-like companion, the ambitious Sir John Conroy who plotted for Victoria's signing an agreement for a regency by her mother. She didn't sign and William IV dies just after she turned 18 and she assumed the throne.

Jim Broadbent does a very interesting cameo as William IV and Harriet Walter is Queen Adelaide who seems to have given Victoria better advice than her mother.

The literate and historically grounded screenplay is by actor and writer Julian Fellowes (Gosford Park, Separate Lies) and the director is Canadian, Jean- Marc Vallee (CRAZY).

The film-making background is quite impressive – and, at 95 minutes, the film is not likely to outlast its welcome.

So, what is it telling us about this Young Victoria?

The first thing is that she was so protected from real life as she grew up that it is difficult to know what her true personality was at that time. She could not go anywhere in the house unaccompanied. She had little social life. She was not allowed to read novels until she was 16 (and read Sir Walter Scott). She was the victim of a life of observing protocols.

Apart from her grief in losing her father when young,she did not rate so highly in her mother's affections, despite protestations on the part of her mother that she did. Her mother was under the control of Sir John Conroy who was determined that Victoria should sign a concession to regency document before she turned 18, allowing her mother to rule (and Conroy to rule her). Whatever it was in Victoria, she refused to sign.

Another issue was her marriage. With the family interconnections amongst the 19th century rulers of Europe, there was always an eager eye for a profitable arranged marriage. Leopold of Belgium features largely in the film, eager for a marriage that would supply him with British support should he experience trouble. This was made known to a cousin in the Saxe-Coburg? family, Albert.

When Albert visited Victoria, they became friends, he a perfect gentleman and she an independent but susceptible young woman. The film suggests at least affection at first sight but the love gradually grew through correspondence and Victoria's difficulties in the first years of her reign, over-reliance on Melbourne, a clash with Prime Minister, Robert Peel, the management of her household and some unpopularity with the people.

The film makes the relationship between Victoria and Albert something of a tender blossoming of love, shared interests (although a clash when Albert felt that he was being sidelined in affairs of state and Victoria treated him with a heavy hand followed by reconciliation) and the final information about their 20 years' marriage, their children, Albert's death and the queen's devotion.

Obviously, Victoria was able to develop a personality and a character.

1.A successful British heritage film? Historical drama? Period, characters? Quality?

2.The brevity of the film, the portrait of the young Victoria, insight into her character and life, the tradition of screen versions of Victoria: Anna Neagle, Irene Dunne, Judi Dench?

3.The 1830s, England, its culture, the place of royalty, wealth, the buildings, Buckingham Palace, the interiors, the city, costumes and décor, affluence and beauty? The comparisons with the court in Brussels? The palaces in Germany? The musical score?

4.The background of British history: the long reign of George III, his regency, the role of George IV, William IV, Victoria’s age, the death of her father, becoming the only heir? Sir John Conroy and her mother, the demand that she sign a regency release, her refusal? Victoria being protected, kept from William and Queen Adelaide, over-sheltered?

5.This dramatised by the sequence of the attempt to force her signing the regency, her refusal? By the banquet with William IV and Queen Adelaide, his speech, his attack on her mother and her mother walking out, his being disappointed at Victoria’s absence from the palace? The discussions with Queen Adelaide, fondness, advice?

6.Emily Blunt as Victoria: from eighteen onwards, as a character, her being overprotected, not allowed to be unaccompanied, on the stairs, her not reading novels, no social life, the fixed protocols of training, being prepared to be a monarch? Her strength of character, accepting the situation, defying it, her ignorance of life in general, her wilful nature?

7.Sir John Conroy, his character, his influence at the court? His plans, sinister? His control of Victoria’s mother? The mother, her character, her relationship with the royalty on the Continent? Her relationship with Sir John, her treatment of her daughter, her being spurned by her daughter?

8.The palace staff, the ladies-in-waiting, confidantes, controlling Victoria, spying on her? The maids, the world of the servants?

9.Leopold and his advisers in Belgium, the relationship with the British throne, the plans for an arranged marriage, wanting British support for his military needs? His plans, including Albert? The scenes with his discussions and advice?

10.Germany, the adviser and go-between, diplomacy, discussions? Albert, his brother, his feelings?

11.Albert and his age, the Belgian connections, the British connections? To be in an arranged marriage? His personality, polite and proper? His interests – and social concern, ‘modern’? The visits to London, meeting Victoria, formally, informally? Their sharing talk, the bond with Victoria?

12.The king’s death, Victoria becoming queen, the commotion in the early hours? Her mother and reaction? Her friendship with Lord Melbourne, the previous meetings with Melbourne? Decorum, protocols? The build-up to the coronation and the visualising of the ceremony?

13.Lord Melbourne, his place in politics, prime minister? His ambitions, connections, using them? Friendship with Victoria? Her reliance on him for advice? His place, anti-Sir John Conroy? Reliable? His bad advice when she became queen, her lack of popularity? Time healing this for Victoria?

14.Sir Robert Peel, the clash with Lord Melbourne, the election, his giving advice to the queen, especially about the staff and loyalties, his defeat, humiliation, later victory? A changed relationship with Victoria?

15.The themes of politics, royalty and their relationship to the politicians, to the governance of the country? To popularity with the people – and Victoria experiencing both popularity and unpopularity?

16.The decision that her mother should leave the court, the exiling of Sir John Conroy – and his not being at the coronation?

17.The various attendants, their loyalties, the group of women surrounding Victoria?

18.Albert, his dancing, Schubert, Sir Walter Scott? The conversations with Victoria, mellowing? The letters and her looking forward to them? Disappointment when they did not arrive?

19.Albert’s arrival, the issue of proposing, Victoria reflecting on it and planning? Albert’s love for Victoria? The marriage, the private scenes in their room?

20.Albert, being seen as the prince consort, his finding himself isolated, the clash and argument with Victoria? The later situation and their apologising to each other? The decision to involve Albert in different affairs, programs?

21.The final information about Victoria and Albert, twenty years of marriage, their nine children, the various descendants of Victoria around Europe? The contribution made by Albert? The aftermath of Albert’s death and Victoria’s semi-reclusion? Her long reign?

THE UNINVITED

US, 2009, 97 minutes, Colour.
Emily Browning, Arielle Kebbel, David Strathairn, Elizabeth Banks, Jesse Moss.
Directed by the Guard Brothers.

A rather neat little thriller, not in the chatty sense of neat meaning pretty good, although it is that, but neat in the sense that there are clues as to what is going on for those on the alert and they all come together very neatly by the final credits, no loose ends. It is a streamlined adaptation of a more elaborate Korean film, Two Sisters.

Anna, the teenage daughter of a successful writer (David Strathairn) has frightening dreams. She discusses them with her therapist at the institution where she has lived since the tragic death in a fire of her invalid mother. She is ready now to go back home. She finds her sister, Alex, and Rachel, the nurse who was employed to look after her mother and who now seems to be in charge of the house and has plans to marry her father.

Anna seems to settle in though she has some strange dreams and some accompanying odd behaviour. But, it is clear that she and her sister dislike Rachel intensely and are intent on unmasking her. Rachel seems nice but has her unpleasant moments with the girls. A young man who had made some advances on Anna at a beach party confides in her that he knows what really happened on the night of her mother's death.

The film moves quite briskly and is not overlong. The father is bewildered. The sister works in tandem with Anna to gain back the situation from Rachel. Rachel is shaping up as the wicked stepmother.

There is a twist which most, including the reviewer, did not see coming. And, as has been said, by the credits we realise that all the plot elements and clues have been explained.

The credibility of the plot depends on the performances of Emily Browning as the emotionally fragile Anna and Elizabeth Banks (appearing in many films these days) as Rachel. They are both effective and, in retrospect, so is the film and its mystery.

1.A satisfying thriller? Horror and terror elements?

2.The remake, the Korean original, this screenplay more streamlined and briefer? The clues all fairly given, all brought together at the end?

3.The New England setting, the woods, the water, the mansion, the guesthouse, the world of affluence? The house and its interiors? The mental institution? Seemingly realistic and its effect? For Anna’s point of view, for the audience point of view? The score?

4.The importance of dreams, the opening dream, Anna at the beach, the party, Matt and his advances, her resistance, going into the forest, her fears, finding the girl’s body? Her concern about her mother, the ringing of the bell? The later explanations about the bell and Alex’s comment, for Rachel? Making Rachel more sinister? Alex and her place in the dreams? Anna’s delusions? Matt and his back in the dream? Discussing the dreams with her therapist? His benign interpretation?

5.The psychiatrist, allowing Anna to leave, her saying that she finished what she had to do and was encouraged by him? The mad girl and her stories? The end, the girl’s identity, the pearls?

6.Anna and her mental state, audience sympathy for her, the grief at her mother’s death? Her mother’s bell? The horrendous fire? Her dislike for Rachel? Questioning Rachel’s identity, her background? Criticising her father? The meals, some compliance? Rachel hosting the dinner, her attacking the girls? Anna’s relationship to her father? The book and his dedication to his two daughters (a misleading clue for the audience)? Her discussions with Alex? Her discussions with Matt, seeing him in the boat, the deliveries, in town at the shop? The appointment with him? His not turning up, but appearing in her dream? The investigation of Rachel? Going to Matt’s funeral, going to the grave of the children? Discussions with the sheriff and his support? Suspicions? The lead to Rachel, to Alex?

7.Rachel and her age, presence in the house, in the photo, caring for the mother, her love of cooking, the hostess for the dinner, the issue of the roast and Anna knocking it to the floor after the can and the spilling of the juice – looking like blood? Rachel going shopping with Anna? Anna and the attack on Rachel, killing Rachel and disposing of the body?

8.The father, seeming sinister and unloving, his relationship with Rachel, love for Alex, the party, going to New York, the return to the disaster?

9.Alex and the other side of Anna, glamour, sexy, the issues of writing the letters and their not being sent? Suspicion of Rachel, her drinking, with the boys and partying? Her help with going to the rendezvous with Matt? The investigation of Rachel? Rachel injecting her? The truth that she had died in the fire? Audience response to this information?

10.The story of Mildred Kemp, the three children, the murder, Anna at their graves, following the girl in the forest? The research, the files, the photos, the infatuation of love, the pearls – and Rachel’s pearls? The irony of the institution, Mildred Kemp as the friend to whom she told stories and listened to stories?

11.Anna and the reality, the effect of her mother’s death, grief, mental state, hallucinations, the truth about her sister, her father, her jealousy of his relationship with Rachel, devotion to her mother, going to destroy the house, the gasoline, the flames, Alex and the accidental explosion, Alex’s death, the mother’s death? Her killing Matt, and the visualising of this because he had seen what had happened? Matt’s death?

12.How effective as a thriller and as a psychodrama?

GUN CRAZY

US, 1950, 87 minutes, Black and white.
Peggy Cummins, John Dall, Barry Kroeger, Morris Carnovsky, Russ Tamblyn (as Rusty Tamblyn).
Directed by Joseph H. Lewis.

Gun Crazy (originally released as Deadly is the Female) has become a film noir classic of the American screen. For many decades it has been held up as one of the main examples of the film noir, so beloved of the French. Joseph H. Lewis directed a number of these films including My Name is Julia Ross and The Big Combo.

The film is a story of an ordinary young couple, he an ingenuous young man who loved guns as a boy, who falls in love with an English sharpshooter in a carnival. She, however, is a liar and has a violent and greedy streak. They fall in love – shown during a sharpshooting scene in the carnival. They marry, are fired by the manager (Barry Kroeger) and when the money runs out she suggests a bank-robbing spree. The elements of a contemporary Bonnie and Clyde story are there (Bonnie and Clyde being outlaws only ten or more years earlier in the Midwest).

Peggy Cummins was brought from England to star in Forever Amber but was fired from the film. She made a few more films before returning to England. However, her reputation was ensured by Gun Crazy. John Dall had received an Academy Award nomination for his role in The Corn is Green, had appeared in Hitchcock’s Rope as one of the two killers and was to appear on television and in Spartacus. The two make a credible couple. He, as one of the characters says, was born dumb and is in the thrall of Peggy Cummins.

The film is outstanding in its direction, in its black and white photography, in the use of light and darkness, in the camerawork (with a famous scene of the robbing of a bank all filmed for four and a half minutes from the back of the car). The film also relies on intense close-ups and angles. Director of photography was Russell Harlan.

The film is brief, takes two ordinary people and shows how they can become criminals, he eliciting some sympathy, she not. However, it is clear that they have passion for each other and this leads to their downfall.

1.The classic status of the film? The film noir of the late 1940s? Its reputation over the decades?

2.The 1940s, the US, the role of guns, the gun culture? Bart as a boy, hunting, wanting a gun, as an adult? Guns leading to violence or not? An implicit critique of the gun culture? The title, the alternate title, Deadly is the Female?

3.The black and white photography, light and dark, camera placement, editing, the filming from the car and the observing of the bank robbery? The use of close-ups? Action, the atmosphere of the swamp? The realism combined with film noir? Intensity? The musical score, the Victor Young-Ned? Washington song and the interlude in the nightclub?

4.The prologue about Bart? Bart, the opening in the rain, the young boy, looking in the window, the focus on the gun, smashing the window, stealing the gun, tripping, the gun falling at the policeman’s feet? In court, Ruby and her testimony, her memories of Bart having the rifle, his skills, shooting the chicken, his weeping and regret? Not wanting to kill anything? David and Clyde, their testimony, the story of the mountain lion and Bart refusing to shoot it? The teacher, her story, Bart refusing to let the gun go? The background to his stealing? To his future?

5.Bart, the judge’s speech, going to an institution? His years there, going into the military? Dave and Clyde and their growing up, David and the newspaper, Clyde as sheriff? Meeting Bart, the hopes? Going to the carnival, happy, Bart not having a job, going into the shooting act, seeing Annie Laurie and her shooting, Bart and his being absorbed, intrigued? Their comments about Bart and leaving him there? Laurie’s response? Bart and the competitive shootout, the symbol for sexual connection, his winning?

6.Laurie and her skills, her performance, her background from England, on the pier at Brighton, her relationship with Packett? Her losing to Bart, the audience reaction, the money? Her ring and his giving it back? Persuading Packett to give Bart a job? Travelling, the attraction? Packett’s suspicions of Laurie? Bart and no suspicions? Packett and his knowing that Laurie had killed a man in St Louis?

7.Bart as nice, born dumb – according to the clown? His observation about his relationship with Laurie?

8.Laurie, her needs, possessions, comfort, not wanting to work? In love with Bart, their marriage, living on the money, it not being enough? Her persuading him to the robberies?

9.The filming of the robberies, from the back of the car? Authentic sequences, people’s reaction? The camera point of view? The police, Laurie getting out of the car while Bart was in the bank? The collage of events, the escapes, the collage of front pages, their reputation?

10.The effect of the robberies on each of them? Hopes, discussions? Laurie as calculating yet passionate? Bart and his sincerity? Their travelling? Getting the jobs, planning to leave after the robbery, their not being able to, turning the cars around?

11.Getting the job in the armour company, Laurie as secretary, Bart and his executing the plan, the guns, the holdup, getting the bags, the alarm going off, Laurie shooting the woman who had been hard on her, their driving, escaping together, the nervousness at the roadblock, the man beeping behind and the police letting them through? The intensity of the chase through the meat-packing company? The various falls, grabbing the bags, clutching them?

12.Eluding the police, going down the coast, going to the hotel, the sexual relationship? Tension? Spending the money, the fur – and later Laurie having to leave it on the footpath? Dancing, the song? The happiest moments of their lives? The police, the notes, escaping at the back of the dance hall, getting the train, arriving at Ruby’s?

13.Ruby, the effect on Bart, Ruby and her children? Laurie and her standing in the kitchen, staring at Ruby, hostility? Ruby’s fear? The phone?

14.David and Clyde, getting the news, the description of the house from next door, suspicions, going over to talk to Bart? Leaving the guns behind? Trying to persuade him to give up? Bart pulling out the phone, fleeing to the mountains?

15.Laurie and her reaction to David and Clyde, with her gun, the escape, crashing through the roadblocks, into the mountains, walking, the exhaustion, in the swamp?

16.Laurie and her character, lies, her talk about fears, killing, sex and love? Bart as a fool for her?

17.The confrontation, Laurie going to shoot David and Clyde, Bart and his stopping Laurie, killing her, his own death?

18.The film presenting a story rather than spelling out a moral perspective? Yet a moral critique in itself?

NEW IN TOWN

US, 2009, 97 minutes, Colour.
Renee Zellweger, Harry Connick Jr, Siobhan Fallon Hogan, J.K. Simmons, Frances Conroy.
Directed by Jonas Elmer.

Lightly likable.

A combination of romantic comedy conventions with a story of little people, the downsizing in the work force, challenging the moneyed bosses – something for a time of recession and credit crunch (although the film was produced before the current crisis).

Film buffs might say it is 'NeoCapraesque', a modern variation on the themes that Frank Capra made so popular in the 1930s (Mr Deeds Goes to Town, Mr Smith Goes to Washington as well as his post-war classic, It's a Wonderful Life). It is often said that Capra is unduly optimistic but, looking at his films again, one sees the tough reality underlying the hope and the realisation that people and their livelihoods could be destroyed. And 2009 is seeing it again.

This slight comedy drama is no classic. In fact, it received some very hostile reviews on its American release. One wonders why until the locals in Grand Ulm, Minnesota, appear with the folksy ways, their characteristic accents (which Fargo fans will recognise) and their simple solutions, especially bringing Jesus-talk into their conversation. They represent mid-west lifestyles and values that are considered too conservative by East Coast and West Coast commentators. The character played by Siobhan Fallon Hogan, Blanche, says as much towards the end of the film. Because the audience is meant to get to know these people and like them might irk a cosmopolitan critic.

The story is, in fact, the old one. Boards in Miami decide the New Ulm plant has to change or go. The executive charged with the mission of venturing into the cold and snowy state is city slicker, Lucy, ambitious to become a CEO (Renee Zellwegger). Sometimes she does well. At other times she more than puts her foot in it, especially concerning widower Ted (Harry Connick Jr) who is the union rep. Stu (J.K. Simmons) is the supervisor and Blanche is Lucy's assistant.

Plenty of nice scenes of meals, Christmas carols and Lucy helping Ted's daughter to get ready for a date. Plenty of factory scenes, especially when the plant has to be closed and the workers fight back. Plenty of ruthless business moves by callous executives.

Now this might take some believing, but the solution to all the problems is Blanche's secret tapioca recipe. You have never heard so many references to tapioca in any other film.

Familiar material but now quite topical.

1.The light tough? Romantic comedy? A comedy set in economic difficult times?

2.Miami and its image, the sun, the buildings and offices, the coast?

3.The contrast with Minnesota, its image, the cold and the snow, small towns, jokey atmosphere, folksy atmosphere, the plant, the homes, the countryside? Accents? Interests? Religion?

4.Lucy’s story: her father, maintenance, advice given to the bosses, his teaching Lucy, advocating an education, her ambitions to be a CEO? Her yuppy style in Miami, jogging, going to the meetings, her doing battle with the men on the board, strong minded, volunteering to go to downsize the factory?

5.The economic background, downsizing, the objective look at closing plants and firing people, not looking at people and their needs? Money issues, marketing, products, sales, changing products?

6.Lucy, going to Minnesota, the flight, all her luggage, the trolley, the cold outside? Meeting Blanche, the office, Blanche’s home and the people? Lucy’s house, cold? The diner and Flo’s reaction?

7.The workplace, her office, Blanche’s office? Files? The plant, her speech to the workers, their reaction? Stu and his being the spokesman?

8.The dinner at Blanche’s house, her dress, putting on the coat, cold? Blanche and her cooking, introducing her husband, the jokes, the children, the talk at the table, Lucy sounding permissive and the reaction? Ted, his reaction? Strict, his daughter? Lucy talking the next morning with Blanche, Ted overhearing, her insults? Discovering he was the union rep? The deal with the union? Her report to Miami?

9.Blanche and her style, her husband, her manner of speaking, cooking, bringing Jesus into the conversation? Chatting in the office, Trudy and the recipe for tapioca?

10.Lucy and her hit list, her drinking, the crash, Ted rescuing her, the lift, her reaction, her later apology? Ted and his change of heart? Taking her crow-hunting, her needing to go to the toilet, in the outdoors, the zip, the rifle, shooting Ted, the hospital? Bobbie and her date, her hair, Lucy helping her with the hair, shoes, the dress? Ted and his laying down the law to her? Lucy and her reaction? Staying the evening with Ted, Bobbie’s return?

11.Ted and his story, his wife, illness, the Mayo Clinic, the reasons to stay in Minnesota, especially for Bobbie?

12.Lucy going to Miami, the board, their plans, the phone calls? Blanche finding the hit list?

13.The celebration of Christmas, carols, the gifts, Lucy giving cash, the various celebrations, Valentine’s Day? Blanche and her scrapping, giving Lucy the scrapbook? The photos inside?

14.The meeting, Miami, the bosses, Lucy defending the plant? Her return?

15.Blanche and the bad news, Ted and his reaction? Lucy’s decision, going to plead with Stu? Blanche’s tapioca recipe? Testing it in the mall? Her speech, Stu joining the group, their experience, the tapioca fight, success with their product?

16.Miami and the change of heart? Lucy as vice-president? The issue of the selling of the factory, the people owning it themselves? Ted and Lucy and the kiss? Applause?

17.A piece of Americana, for difficult economic times, issues of jobs, encouragement to small people to stand up for themselves?

ANDER

Spain, 2009, 128 minutes, Colour.
Joxean Bengoetxia, Christian Esquivel.
Directed by Roberto Caston.

Life on a farm in the Basque country, details of life and work, but a look deeper at lives and relationships.

Ander (Josean Bengoetxea) is a middle-aged man, living with his stern mother and his sister who is about to be married. He is a lonely man, hard working. He joins his friend and neighbour, Pero, in resorting to Reme (Mamen Rivera), a deserted mother with a son who serves as a local prostitute.

The film is slowly-paced and rather long and uses a social realist style.

Matters change when Ander breaks a bone in his leg and the family have to hire a young Peruvian Jose (Cristhian Esquivel) to help out. This leads to an emotional crisis for Ander and his awareness of his sexual identity, a man who is reluctant and angry. It is the long-suffering Reme who acts as a kindly mediator for Ander to come to terms with the truth.

Set in beautiful mountain scenery, with no musical score (except when the radio is turned on), the film requires patient and understanding viewing.

1.Spanish rural life? Social observation? Realism? Themes?

2.The mountain scenery, the peaks, the valleys, the farms, the herds? Homes? Towns? The musical score?

3.Issues of identity, relationships, orientations, judgments?

4.Ander and his age, his hard work, getting up in the morning, the routines, his mother, sister, breakfast, home life, driving to the factory, the work at the factory, getting off, going to the herds, sitting under the tree, listening to the radio? His friend and neighbour, going to visit Reme? The sexual outlet? Life continuing?

5.His mother, her age, her routines, cooking, her friend coming to visit for the meal, Ander later asking about his paternity? His sister, the preparations for the wedding? Her husband-to-be as a good friend? Helping in finding someone to work the farm?

6.The accident, his mother sending his sister out, her finding him, getting help from the friend, hospital, the difficulties, the need to find a worker for the farm?

7.The brother-in-law and his suggesting Jose? His Peruvian background, migrating to Spain, family in the city? His being called an Indian? His polite manner? Ander’s mother and her nasty attitude towards him? His work, efficiency? In his room, the photo with his friend? His going to Reme’s place with the others, holding back? His observing?

8.Ander and Jose and the bond, comfortable with each other, the work together, dependence, Ander shielding him from his mother? Reme and the friendship? Jose and his reliability, care for Ander? The wedding, the wedding breakfast, the incident in the toilet? Ander’s reaction? Being sick? The effect on him?

9.His mother’s death, the impact? His sister and her husband and their care? Concern for the future? The sister helping out with meals? Ander and his moodiness?

10.Ander upset, not coping, the meals, wanting to get rid of Jose?

11.Jose continuing his work, the questions about his future?

12.Reme, her life, her child, her husband leaving, the phone call, his not coming back? The visit to Ander, talking things over with him, the shared experiences, his invitation for her to stay? Her being the mediator for him to understand himself and Jose?

13.The household, settling down, the aftermath of Ander’s crisis, living with Jose, a future?