THE UNBORN

US, 2009, 87 minutes, Colour.
Odette Yustman, Gary Oldman, Meagan Good, Cam Gigandet, Idris Elba, Jane Alexander, Atticus Schaffer, James Remar, Carla Gugino.
Directed by David S. Goyer.

A small horror film where the heroine, Casey (Odette Yustman) spends a lot of time dreaming, the dreams being terrifying premonitions about what might happen to her, especially from a seemingly diabolical child, ghostly, as well as creatures that come out of walls to creep all over her. She also has 'episodes' (probably the best word) where faces appear in cabinets and horrors appear even when she is awake. She spends a lot of the film's time wondering what they mean, talking things over (especially via computer at night) with her best friend (Meagan Good) as well as with her boyfriend (Cam Gigandet). When a real little boy starts saying the same threatening words and one of her irises changes colour, it is time for some professional help, especially when the optician asks whether she is a twin.

Of course, she is. Her brother died in the womb. Now there are messages that he wants to be born. So much, so familiar enough.

What makes this film different and worth some attention is the Jewish background and foreground that David S. Goyer (who wrote the Blade movies and contributed to Batman Begins and The Dark Knight) elaborates. Firstly, our heroine is linked maternally to experiments on twins in Auschwitz. Secondly, the mystery woman in articles that were in her mother's box is her grandmother and was part of these experiments. As played by Jane Alexander, she is a dignified woman who wakes and recites her morning prayer. And the mythology that Goyer draws on is that of the Dybbuk, the Evil spirit that moves from person to person in its malevolence.

Which brings us to the last twenty minutes or more which is an exorcism. Gary Oldman plays a rabbi who is investigating the myth of the dog with upturned head (appearing in Casey's dreams as well as madly pursuing the grandmother through an institution for the elderly). He is also translating a ritual for exorcism. The ritual itself is explained in terms of the symbolic number ten and other Jewish tenets (which may or not be accurate and need scholarly checking since they could be mere Hollywood inventions – which often happens when Catholic rituals are allegedly portrayed). There is talk of inter-faith collaboration because the evil is said to pre-date religions, so the rabbi and a Protestant priest conduct the ceremony (filmed in an old institution where the stained glass images are Catholic).

It is only an average film and horror fans have complained that it is not scary enough. And, if there is a sequel, will it be called The Unborn-again!

1.The work of Goyer, as a writer, fantasy, comic strips, director?

2.The basic idea: twins, the relationship between twins, the possibility of an unborn twin, the death in the womb? Linking this with Mengele’s experiments in Auschwitz? Giving it a Jewish context? The Jewish mythology of the Dybbuk? The malevolent ghost, moving from person to person? The need for an exorcism? How well did these ingredients work, in the context of a horror film?

3.The city setting, Chicago, the rain and the snow? The buildings, college, surgeries, the final building for the exorcism? The hospital and institution? The atmospheric score?

4.The focus on dreams, Casey and the number of her dreams, jogging, the glove, the child, the mask? Her dreams about the creatures and their overwhelming her? The malevolent child? Her feeling persecuted? Her discussions with Romy, trying to understand, with the rabbi, with Mark?

5.Casey as the centre of the film, the young woman, her studies, athleticism? Her friendships? Her relationship with Mark? Her love for her father? The flashbacks to her mother, in the institution, the depression, her death? The mystery about her mother?

6.Casey and her health, going to the optician, the examination of her eyes, the different colours? The discovery of her being a twin? Her father’s explanation? The child not born? The little boy, his being possessed by the Dybbuk? His saying that Jumbi wanted to be born?

7.Her mother’s papers, discovering the article about Sofi? The visit, the institution, the welcome, Sofi changing attitude, sending Casey away? The later contact, her apology? The fact that she was Casey’s grandmother, her story of the Dybbuk? The concentration camps? Her feeling freed, her prayer, moving around the institution in the night, Eli and his being in the chair, the sudden contortion, the face of the dog, her being pursued, her death? The funeral?

8.Casey and her babysitting, the young boy, his becoming possessed, with his baby brother, the threats, the reappearances? Casey saving his life?

9.The rabbi, his translations, the mythology of the dog and the upturned face? The discussions with Casey? His friendship with Arthur Wyndham, Wyndham and the basketball coaching? The decision to do the exorcism?

10.The Jewish background, the significance of the number 10, the rituals and prayers? The ten helpers? Mark and his presence? The ceremony, the Dybbuk and the whirlwind? The papers flying around? The witnesses being overtaken? The Dybbuk moving from person to person? To Arthur Wyndham and his pursuit, to Mark, his death? The rabbi trying to read the ritual?

11.Romy, the friend, her scepticism, talking about superstitions? Her going to the door, the young boy killing her?

12.How credible the plot, the characters? The authenticity of the Jewish background or not? Devices for yet another horror film?

MY SUPER EX-GIRLFRIEND

US, 2006, 95 minutes, Colour.
Uma Thurman, Luke Wilson, Anna Faris, Rainn Wilson, Eddie Izzard.
Directed by Ivan Reitman.

You might say that it is all a bit silly. It’s a kind of Saturday matinee show for an adult audience rather than children. It’s amusing but not all that funny. Slight, momentarily entertaining and certainly not very demanding on the brain.

Ivan Reitman has directed a number of favourite comedies over more than twenty years. He was responsible for the Ghostbusters films, for Twins, Kindergarten Cop and Junior, three very amusing Arnold Schwarzenegger comedies and for Dave. Not a bad track record. But this is not anywhere near than major league.

The idea is not bad. This is a standard romantic comedy where the young architect (Luke Wilson) has been dumped, is getting bad and chauvinistic advice from his work buddy, likes his co-worker (Anna Farris) and is urged to date an attractive bespectacled woman in the subway (Uma Thurman).

Meanwhile G- Girl (who would give Superman, Spiderman and Daredevil a run for their money) is saving New Yorkers from robberies and disasters.

Yes, plain Jenny Johnson and G- Girl are one and the same.

Actually, the romance does not quite turn out as we expect. Our architect finds her too much and too neurotic. He is also hunted by an even more neurotic villain (Eddie Izzard) who is really in love with Jenny.

And that’s about it – except for a scene where a vindictive Jenny tosses a live shark into the apartment of her ex-boyfriend. That was different!

1.Popular romantic comedy with a difference? The blending of romantic comedy with the superheroes? Successful?

2.New York City, the familiar streets, buildings, restaurants, apartments, offices? The city as the target for crime? G- Girl and her solving all the problems? The manner of Spiderman, Daredevil, Superman…? The musical score and songs?

3.The focus on Matt Saunders, his work, design, the discussions with Vaughn Haige, Vaughn’s crudeness, bluntness about sexuality? Chauvinist? The later revelation that he was boasting? At work, the friendship with Hannah and working with her? His worry about not having a girlfriend? His character? His passivity? Vaughn urging him to talk to Jenny on the bus, the meeting, discussion, the meal, her coming on very strongly?

4.Jenny Johnson, bespectacled, the brown wig? G- Girl underneath? Her exterior, her manner, obsessive? The response to Matt, the outings, sexuality, the breaking of the bed? The neurotic behaviour, suspicions, seeing Hannah? Her continually rushing off to save New York? Her wanting to have a rest? At the meal with Hannah, the satellite hurling towards New York, her trying to ignore it, going to the bathroom, solving the problem, returning, seeing Hannah and Matt, going off in a huff? Her change of heart, her attacks on Matt, humiliating him? The verbal confrontations? The presentation to the clients, blowing the papers around the room, stripping Matt? His being fired? Matt trying to talk with her, her being unreasonable?

5.Jenny, telling Matt the story of the past, at school, the friendship with Barry? The meteor, her touching it, getting superpowers, her change of attitude, popularity, ignoring him?

6.Barry as Professor Bedlam, his henchmen, on the television? His experiments with trying to stop G- Girl’s power, getting her hair and the laboratory work? His confrontation with Matt, the henchman slapping Matt? The explanations? The surveillance in the rooms? The confrontation with Jenny, trying to protect her, the talk, the experiment and the change in Jenny?

7.Vaughn, co-worker, crass language, sex-preoccupied?

8.Hannah, her boyfriend, his advertising and modelling? Her support of Matt? Her discovering the truth about her boyfriend? Matt and Hannah together? Jenny’s vengeance, G- Girl throwing the shark into their bedroom? Her touching the satellite, her getting the powers?

9.The confrontation between Hannah and Jenny as the two G- Girls? The fight?

10.Vaughn, the girl at the bar, his confession to her?

11.Barry, the reconciliation with Jenny? Matt and Hannah together?

12.The tone of the film, the humour, the romance, the variation on the theme?

THE SPIRIT

US, 2008, 108 minutes, Colour.
Gabriel Macht, Samuel L. Jackson, Eva Mendes, Scarlett Johansson, Sarah Paulson, Jaime King.
Directed by Frank Miller.

Intriguing.

Poor reviews and weak box-office in the US seemed to indicate that there was something wrong with this version of a comic book hero and villain. Maybe there is. However, this review is very favourable.

Not being a fan of Sin City, written by Frank Miller who co-directed with Robert Rodriguez - it was ugly and brutal in themes and treatment, and thinking that Zac Snyder's version of Miller's 300 was absurdly camp, I expected this to be as bizarre as the other films. Not so. While it has big guns blazing in exaggerated cartoonish style, it has no rough language to speak of (only the 'kick ass' variety). To that extent, it is more general audience friendly.

But, where it may not be general audience friendly is precisely where it is so interesting. If you want to see a cinematic experience of pop art, then The Spirit could be it.

Firstly the style - because that is what makes the immediate impact. It looks like a comic strip come to life (as did Sin City and 300). However, The Spirit has a more consistent and consistently interesting style. It is generally filmed in black and white and red. There are some blues now and again and some tints of green and grey, but the black and red is visually striking. The cityscapes and locations are stylised. So are the characters and their costumes with inventive lighting. They look and sound as if they are in a comic strip. You can imagine the bubble in the frame with the dialogue. Stunt work and effects are designed to create an urban unreality into which we are invited. Art students will be fascinated by The Spirit.

Secondly, the content.

One of the difficulties for those not in the know or fans of Will Eisner's creation is that we are plunged right into the action as this strange masked man, The Spirit, goes into action to protect the city (often rhapsodising about the city as his mother and his love and life commitment) which, in its turn, provides opportunities (manhole lids to deflect bullets) to protect him. The commissioner calls on him to help (he is a bit like Spiderman at times in helping people) but is always exasperated with him. He has a way with women which frustrates the commissioner's doctor daughter who is in love with him. His nemesis is an arch criminal called The Octopus. Neither seems to be affected by weapons and fighting which makes the proceedings more mysterious.

It is at about an hour into the film that we get a complete explanation of who The Spirit is, how he died and was resuscitated and how he has committed himself to serve the city. We also get an explanation of the megalomania of The Octopus and his plan to blend his DNA with that of Heracles(!) so that he can become both human and divine. Well! But intriguingly interesting.

Gabriel Macht is The Spirit, an ambiguous blend of the good, the heroic and the womanising charm. Samuel L. Jackson lets himself go as The Octopus while a rather straight-laced and bespectacled Scarlet Johansson is his assistant. Eva Mendes is on the side of good, generally. Sarah Paulson is the doctor. Paz Vega comes in to do an exotic Latin dance. Jaime King hovers as the spirit of death.

No, not essential viewing – unless you want to see a state of the art pop art movie.

1.The impact of the film? Expectations, the work of Will Eisner? The comic books, the style of drawing, the type of hero, action, powers? The tones? The fans?

2.The work of Frank Miller, dark, the stories, drawing, tone? His film interpretation of Eisner?

3.The popularity of comic heroes: society, the clash between good and evil, the city, crime, megalomaniacs, the nature of madness and violence? The melodrama, the rhetoric? Heroes and powers, causes? Relationships and lack of relationships? The language, the conflict? The commitment?

4.The importance of the visuals for this film: the blend of realism and stylisation? Black and white, red, fewer colours? The design, the frames, the action and stunt work, effects, for powers? The musical score?

5.The structure: the Spirit and death, death as close, the Spirit as dying? The mystery of his death? The call to the commissioner, going into action, saving the woman with the lost purse? The information about the Octopus? The plan, confrontation and fights? The explanations coming much later in the film? The police? The Spirit’s death? The operation? The role of Sand Saref? Ellen and her work as a doctor? The discovery of the Spirit’s powers, the Octopus and the confrontation? The effect?

6.The Spirit and his love for the city, the number of speeches about the city, love, the city protecting him, his serving the city? The city as his mother, the commitment at the end? His name in his past life, but now the Spirit of the City?

7.Octopus and his powers, madness, fighting? Samuel L. Jackson in manic mode, the nature of the autopsies, the drugs, the experimentation? His wealth? The role of the police in confronting him? The importance of DNA, searching for the DNA of Heracles to become a hero? The box, Sand and her possessions? His megalomania? Fighting, wounding the Spirit? The Spirit reviving? His enjoying the battles? The bizarre aspect of the Hitler performance? Swastikas? The confrontation with Sand, the box, destroyed? The Octopus in the cloud?

8.The commissioner and his character, the role of the police, the combating of crime, the deaths of the police? Ellen and her concern?

9.Ellen, as a doctor, her love for Dan, helping him, waiting for him? Interactions with the Spirit? Her knowing that he was flirtatious, with Sand? His return at the end?

10.The manner of the Spirit, his appearance, ordinary, yet his powers, his charm with women?

11.Sand, the shooting, her mission, the DNA, the relationship with the Spirit, her leaving?

12.The capture of the Spirit, Silken Floss and her charm, the performance, with the Octopus and the Hitler routine, the role of the Spanish dancing girl, charm, helping the Spirit escape?

13.Silken Floss, bespectacled, assistant to the Octopus, her scientific knowledge?

14.The character of Death, her words, the Lorelei?

15.The mission, the Spirit’s final commitment to the city, living alone? The type of comic book hero?

THE INTERNATIONAL

Germany/US, 2009, 118 minutes, Colour.
Clive Owen, Naomi Watts, Amin Mueller Stahl, Ulrich Thomsen, Brian F. O’ Byrne, Patrick Baladi.
Directed by Tom Tykwer.

If you are on the lookout for an intelligent thriller, well-paced, with discussions about issues and ideas, interspersed with some action, then The International can straight on to the list. If you are looking for the slambang side of things, then forget it. Actually, some audiences expressed disappointment in it because the ads led them to believe that this was some gung-ho kind of show.

Tom Tykwer emerged in the late 1990s as a director to look forward to, especially because of his Run, Lola, Run, where the brief action was repeated in three different ways, from three different points of view. He has not made many films though one of his was Heaven, with Cate Blanchett, based on a screenplay by Kzrysztof Kieslowski. Now he has made an international film, drawing on German technical skills, a cast from a large number of countries and location work all over the world.

One thing to note is the impressive photography, not just of characters interacting or action shots but the striking images of several cities, a lot of aerial shots, immersing the audience in the look and the ambience of each city so that the city becomes more than a location but an atmosphere. This is true of Berlin in the first part of the film, a murder outside the new main station. The headquarters of Interpol are in Lyon. There is an assassination outside one of the grand buildings of Milan. The international headquarters of the rogue bank in the film, its glass-fronted office buildings, are in Luxembourg. There is a pursuit of a killer through the streets of New York culminating in a spectacular shoot-out in the Simon Guggenheim gallery and, finally, a killing on the rooftops of Istanbul with magnificent views of the city in the background. This is striking international filming.

The plot itself is more than topical during credit crunch and bank collapsing days. In fact, it is based on episodes in the 1980s with a corrupt banker in Pakistan.

Here, the international bank, with its ruthless head (Ulrich Thomsen), its criminally-minded advisers (led by Armin Muehler Stuhl) and its assassin on the payroll (Brian F. O' Byrne) is based in Luxembourg. It is not interested so much in money and holdings as being an agent for arms deals. And, as is explained, arms deals mean control of countries who buy them and control of their debt. In these days of bank collapses and government bail-outs that gives audiences a lot to think about – and suspicions of what the heavily-bonused officials are up to.

When an FBI agent and an informer are killed, relentless Interpol agent Louis Salinger (an intensely convincing Clive Owen) follows up with the help of a New York DA (Naomi Watts), grabbing at, travelling far and wide to bring the truth to light. The various worlds they get mixed up in are murky and there is the perennial questions about whether the law is able to achieve justice or not. The final moments bring this home very effectively on the rooves of Istanbul.

A good thriller with something to say.

1.Topical film? Relevance because of financial crises, credit crunch? Arms deal? International debt? Especially in Africa? Police work? Interpol? The combination of all these elements?

2.The visual style, glossy, wide screen, the vistas of Berlin, New York, Luxembourg, Milan, Lyon, Istanbul? The aerial shots? The character of each of the cities? Modern, contemporary style, atmosphere? The atmospheric score?

3.The titles, the Luxembourg Bank, arms deals, international investigations?

4.Interpol and its role, investigation? The law in particular countries as seen in France, Luxembourg, Italy, the US?

5.The opening, in Berlin, the central station, the glass buildings, the crowds? Realism? The agent in the car, the informer, Louis Salinger and his watching, the falling through of the plan, the agent dying in the street, Salinger hit by the car, being treated in hospital, his examination of the corpse, suspicion of murder?

6.The contrast with the US, the vistas of New York City? Eleanor, waiting for the phone call, Arnie and his work as her boss, the situation in Germany, her going there, the discussions with the police, not following through on the case?

7.Clive Owen as Louis Salinger: his character, loner, an idealist, working for Scotland Yard, the collapse of his case, the rubbishing of his witness, the accidental deaths, his anti-authoritarian behaviour, his leaving the yard? His file and Eleanor reading it? Joining Interpol, the risks, no sleep or eating? Relentless, the various confrontations? With Victor in Lyon, walking the dog, the bugging of the phones? Luxembourg and his wanting to meet the boss? Meeting white and the police officials? In Milan, the discussion with Calvini? The investigation after the assassination, the chase in the streets, going to New York, the lead for the assassin, his assistants, at the airport, the shoes, the footprint, going to the area, finding the assassin, following him? The interview with Wilhelm Wexler? The trying to turn him, get information? Following the assassin to the Guggenheim Museum, the stakeout, being seen, the shootout and the squad, the violence, the assassin helping him, the assassin’s death? His going to Calvini’s sons, explaining the death of their father? The taping of the discussion between Jonas and the Turkish arms dealer? Following, the failure of the taping, the security guards ousting him? Pursuing Jonas along the roof? The confrontation, the challenge by Jonas saying that other bankers would come, the system would continue, asking was he only satisfying his bloodlust? The sudden appearance of the Italians, the vendetta death? The portrait of an intense agent?

8.Interpol at Lyon, the building, the phones being bugged? Victor and his work with Salinger? White, the smooth talk? Seeing Jonas and the other officials leaving the bank? Wilhelm and his roles?

9.The assassin, the puncturing of the agent in the Berlin street? The report of the shooting of the informer? The cover-up? The inconsistent police documents and reports? The police and the firing of the gun, the packaging of the bullet, the pickup by the police, the planting it with the Red Brigade alleged assassin? The assassin escaping by car? The visit to the art gallery and the discussion with Wilhelm? His escaping from Milan? The footprint, New York and the gymnasium, the surveillance footage and his iron leg-braces? The doctor, the files, the address – and the vacant lot? The policeman seeing him, his being followed? At the Guggenheim, the discussion with Wilhelm, knowing that he was to be killed? The shootout, helping Salinger, his death?

10.Eleanor and her work, the discussions with Arnie, the pressures from Arnie and the authorities? Her case, working on it for years, the glimpse of her family, phoning the victim’s widow, the lead for Calvini? Going to Milan, the interview of Calvini, the planned talk after the speech? The assassination, her checking the trajectories of the bullets? Her being hit by the car? The investigation, New York, listening to Salinger? Wilhelm? Her final choice, letting Salinger go?

11.Calvini, the interview, the possible president of Italy, the themes of banks, arms deals, power and control, the control of debt? Setting up a coup? His sons, their alleged willingness for the deal? Salinger giving information to the sons? The sons not dealing with Jonas? The death of White in the car? The final vendetta in Istanbul?

12.Jonas, his plans, the money, the arms deals, China, the Turkish deal, Israel and the complications? Being a market for arms? Controlling debt? The interview with the African general? The later television coverage of his attempted coup? Using the same assassin? The squad in New York? The discussions with Wilhelm, using him as a go-between, his advice – and his not being listened to? Wilhelm’s past, the Stasi, pro-communist? His explanations to Salinger about himself, losing his path, the possibility of some kind of redemption? The discussion in Turkey after the funeral, the role of Israel, the ineffectual nature of the rockets? Contracts with China? Going to Istanbul, speaking to Salinger on the roof, his death?

13.The American investigation, the two police, meeting at the airport, their support of Salinger? Going to the doctor and Salinger’s threats? Going through the files, finding information that led to the suspect? The address? The policeman spotting him from the diner, following, the shootout, the agent being killed, the other agent taking Wilhelm to the basement?

14.The staging of the shootout in the Guggenheim?

15.The staging of the car chases, the traffic in Milan?

16.A different world from the life of ordinary people – yet the influence of banks, financing, deals and their power over nations and individuals?

LADDER 49

US, 2004, 115 minutes, Colour.
Joaquin Phoenix, John Travolta, Jacinda Barrett, Robert Patrick, Morris Chestnut, Billy Burke, Balthazar Getty, Tim Guinee, Kevin Chapman, Jay Hernandez.
Directed by Jay Russell.

This is an action that drama that reviews itself. The action sequences are quite spectacular: fires in Baltimore city buildings and the efforts of the firefighters to rescue people and put out the fires. These sequences are filmed with intensity and edited to create a breakneck pace. On the other hand the human drama sequences are exactly what you are expecting, a group of decent people living their ordinary lives. This means that, depending on your interest preference, Ladder 49 is a drama punctuated by action or an action show punctuated by births, marriages and deaths.

The film opens with a huge blaze and Jack Morrison (Joaquin Phoenix) rescuing a worker before he is trapped and a smouldering floor gives way. If our whole life passes before us as we face death, then the film has Jack’s life pass before him in flashbacks. He is the good-natured and willing rookie, the happily married man who loves his wife (Jacinda Barrett) and children, the heroic veteran, the man who is prepared to risk danger in order to save lives. While there have been several films about firefighters (most notably Ron Howard’s 90s film, Backdraft), this one evokes memories of the heroic fighters who battled the World Trade Center explosions and can be seen as a tribute to them. In the aftermath of September 11th, the film opts for grim realism rather than neat Hollywood heroics (though there is a lot of heroics).

Joaquin Phoenix is an actor who can play villains (as in Gladiator) but who can also communicate reticent charm. He certainly does that here, giving the film a rather warmer human face than might be expected. John Travolta is the older chief of the department which is peopled by the usual suspects (some fights but generally good comradeship) who are surprisingly mostly Catholic. The technical advisers have got it right this time for the several sequences of marriages, baptisms, funerals.

One can watch the human drama in neutral and move into higher gear with the fires.

1.Audience interest in firefighting stories? Heroism? Service to people in danger?

2.The film post-9/11? Memories of the World Trade Centre and the firemen dead? This film echoing the grimness? A tribute?

3.The Baltimore setting, the city, the fire department, homes, shops, restaurants? Authentic feel? The musical score?

4.The frequent action sequences, the range of fires, the range of dangers? The firemen on call? Their going to the fires, their techniques, trying to save people? Flames, smoke, collapsing buildings, ropes and friction? How well did the film illustrate the dangers? How well did the film illustrate the ingenuity of firemen? Their heroism and courage? Fatalities?

5.The framework of the film, the fire, Jack and his work, the collapse of the building, his fall, being trapped? Returning to Jack trapped with showing his flashback memories? The finale, the attempted rescue? The failure? His death, funeral, tribute?

6.Jack’s story, remembering arriving as a rookie? Meeting Mike and his odd behaviour, the drinking, wearing only shorts? Meeting the men? The practical joke with the confession? His cottoning on? (And the later confession with Keith Perez and his pretending to be gay – and catching Lenny Richter?)

7.The men, the team? Their work together, collaboration on the job? Their fights, practical jokes? Such jokes as throwing the water for the baby shower…?

8.How well did the film delineate the characters: Lenny Richter, older, bossing people, attacking rookies, blame? His later heroism and the medal, gaining it with Jack? Tommy Drake, his burns and his being in hospital? The Gauguin brothers, with Jack in the supermarket and meeting the girls, working together, the practical jokes? Tony Corrigan, Frank Mckinny?

9.John Travolta as Mike Kennedy, in charge of the group, loyalty, his demands, on the job? His friendliness, admiration for Jack, friendship with Linda? His trying to save Jack? The final tribute?

10.Jack, in the supermarket, meeting Linda, going out with her, the proposal? The wedding ceremony? The celebration? The announcing of her pregnancy? The ten years passing, the children? Her fears, trying to be honest, Jack’s reactions? Being upset, wanting to pick a fight? His Christmas attack on Richter? Linda and her patience? His not wanting her to go to hospital to see Tommy Drake and his burns? His children, a good father?

11.The Catholic background, the mock-confessions, the wedding, the funeral? The priest and the fatalities at the fires? The funeral?

12.A tribute to firemen? The realism of their work? The demands and challenge?

FORT WORTH

US, 1951, 80 minutes, Colour.
Randolph Scott, David Brian, Phyllis Thaxter, Helena Carter, Ray Teal.
Directed by Edwin L. Marin.

Fort Worth is one of the many westerns that Randolph Scott made during the 1950s. In fact, of the forty-three films he made between 1946 and his last film in 1962, only two of them, one in 1946 and one in 1947, were not westerns. This was the last film directed by Edwin L. Marin (who directed Scott in Christmas Eve in 1947 and then followed with six westerns including Colt 45, Fighting Man of the Plains, Sugarfoot).

David Brian is once again the villain, a routine role for him at this particular period, often playing against Joan Crawford (The Damned Don’t Cry). Phyllis Thaxter is a rather sweeter heroine than usual. Helena Carter has a guest role as a tough woman.

The film is different insofar as it shows Texas after the civil war and the introduction of the railway. David Brian plays an ambitious man who buys up all the land, wants to control the railway and the cattle, wants to be governor of Texas. Randolph Scott portrays a former gunman who has become a newspaper editor, relying on the power of the pen rather than that of the sword.

The film is a variation on the cattle western, law and order in a town – with the touch of difference in the newspaper theme.

1.A Randolph Scott western? His many westerns in the 40s to the 60s? A western hero?

2.Fort Worth, the beginnings of the town, the railroad, Texas?

3.The colour photography, the western vistas? The town? The cattle runs and stampede? Musical score?

4.The character of Ned Britt: a western hero, his past and the guns, his love for Flora, her father and his admiration? His previous friendship with Lunsford? His role in the cattle drive, accompanying the people moving west? His printing his papers, in Kansas and other states? His condemnation of corruption? His role in the town, Ben Garvan as his partner, putting up the money? His help, especially Luke?

5.The role of the newspaper, the influence in the town, Lunsford and his attitude? The attitude of Gabe Clevenger? Hostility, attempts on Ned Britt’s life?

6.Flora, accompanying the cattle drive? Her admiration for Ned? The stampede, the death of the boy? Her wanting gun revenge? Disappointed in Ned? Her relationship with Lunsford, intending to marry him? Amy’s visit to the meal and the exposure of Lunsford? Her mixed feelings towards Ned, still believing Lunsford? The final confrontation?

7.Amy, the past, with Lunsford, the money, getting rid of her, to New Orleans, her coming back to expose him?

8.Lunsford, his ambitions, buying up the land, inviting the railroad in, in league with Clevenger, the shootouts? His support of the local law and order group, the Panthers? The name from the editorial about the panther in the street? His double-dealings, trying to persuade the railway executives? Clevenger and the holdup of the train? The shootouts, his being on the train with Ned, the fire, his escape, trying to persuade Flora to be on his side? His ambitions – and Ned not denying them in his headline at the end?

9.Gabe Clevenger, his gang, the assassins, the cattle, the hostility towards Ned Britt? The reaction to the newspapers? Assassins, shootouts?

10.The resolution, Clevenger and his killing of Lunsford? Flora blaming herself for Lunsford’s death? Fort Worth and law and order, the newspaper – and marriage and a child?

AN UNFINISHED LIFE

US, 2005, 108 minutes, Colour.
Robert Redford, Jennifer Lopez, Morgan Freeman, Josh Lucas, Damien Lewis, Camryn Mannheim, Becca Gardner.
Directed by Lasse Hallstrom.

This is a film mainly about adults and adult issues made for an adult audience. It shows problems, even death and grief. It shows people working towards forgiveness and healing. It shows ordinary people and people at the margins of life.

The star is Robert Redford, looking more than a bit gnarled, lined and a chin full of stubble. After all, he is almost 70. He owns a farm but has had to let his cows go. His son has been killed in a car crash and he has never got over it. He is completely bitter towards his daughter-in-law who was driving at the time of the accident. In the meantime, he cares for a friend who worked for him and who has been in pain for some time after being mauled by a bear.

The bear becomes the film’s symbol for Redford’s character. The bear wanders the town while Redford wants to shoot it. But, it is captured and is exhibited in an animal park. The victim of its mauling wants it fed and finally freed after looking it in the eye with courage.

Accidents are also an important theme. Each of the characters has been involved in accidents and each has to learn that that is the meaning of accident: no one’s fault, even if death follows.

The farm is in Wyoming and its beautiful scenery (Brokeback Mountain territory and there are allusions to the friendship between the two old men). But this is a straight and generally straightforward story. Redford’s character has been a drunk and is bitter. He has been devoted to Morgan Freeman as the victim of the bear (which the drunk Redford did not have the strength to move). He suddenly finds that his alienated daughter-in-law (Jennifer Lopez in quite a low-key performance) arrives with a grand-daughter he never knew about. The bonding of child and grandparent can work wonders – and does.

The film was directed by Lasse Halstrom who likes this kind of humane story in out-of-the-way places: What’s Eating Gilbert Grape, Cider House Rules, Chocolat, The Shipping News.

1.A film of sadness, reconciliation, forgiveness, hope and love?

2.The Wyoming settings, the beauty of the mountains and countryside, the homes? The town, the diner, the zoo? The contrast with the crowded cities? The score?

3.The title, its application to each of the central characters? Especially Einar, Mitch and Jean?

4.The introduction to Einar and the farm, his helping Mitch? Jean, Griff, Gary and his brutality and their leaving?

5.The town as a setting, everyone knowing the news about everyone else? Jean and her parents’ home, her past life in the town, marrying Griffin? Going to the rodeo, the tossing of the coin and her driving, her going to sleep, the crash, Griffin’s death? Everybody knowing? The diners, Nina and her help, Crane and his support? The louts in the town? Einar and his life, his grief, his drinking? A closed community? Gary as the outsider and intruder?

6.Jean and Griff, the daughter named after her father? Both characters strong? Jean and her explanation that after what had happened she didn’t deserve any better than Gary? Griff and her personality? Griff persuading her mother to leave? The drive, in the middle of America, the possibilities, the map, the choices? Going to her father-in-law’s house, he not knowing about Griff? The desperation and staying? His allowing them to stay?

7.Einar as a grizzled old man, living for his dead son, going daily to his grave and talking with him? His wife leaving him? His work with Mitch for forty years? Too drunk to help him when the bear mauled him? His attitudes towards Jean and Griff? His emphasis on manners, correcting Griff? His using her for jobs, finally accepting her, teaching her? Aggressive towards Jean? The strong arguments, Jean talking frankly about Griffin’s death? Mitch and his help? His care for Mitch, their discussions? Griff and her misunderstanding their relationship? Work, Einar going to town, feeding the bear, setting it free? His defence of Nina in the diner?

8.The bear as a symbol, from the mountains, in the town, wandering, a target for shooting? Einar and his wanting to shoot? Crane saving the bear? Transporting it to the zoo? The visitors watching it? Its mauling Mitch – and his saying that it was just doing what a bear does? The plan for the escape, Griff accidentally knocking the bar, Einar and the attack? The bear confronting Mitch, Mitch standing his ground, eye to eye? The bear going into the mountains and Einar watching it? A symbol of grizzly, mauling, freedom?

9.Mitch, the mauling and the effect on his face, his legs, using the crutches, his need for the medicine? Accepting Einar’s help? The pain? Their discussions, his observing people, friendly towards Jean and towards Griff? Grateful to her? Wanting the bear fed? Wanting to see the bear? Its being set loose, the confrontation, his stance? His reflections on death and burial?

10.Crane, his work as sheriff, attracted towards Jean, the relationship, her initiating it, the information about Gary? His knowing Gary was in town, confronting him? Griff not liking Crane? Einar and his talking of courtesy? Her inviting Crane to stay? The discussions with Jean?

11.Nina, friend, her work at the diner, dealing with the louts, taking Jean and Griff in, a good listener?

12.Jean, the confrontation with Einar, leaving, Griff wanting to return, walking to the ranch, learning to drive?

13.All the influences on Einar, his having to deal with his grief, face the truth? His paying Jean the compliment about Griff’s growing up?

14.Gary, the type, his brutality, short-tempered? Coming to town, trespassing, the butts at the grave? Playing pool, the confrontation with Einar, Einar driving him out of town, bashing the car? His return to the town? The confrontation with Crane? His leaving?

15.Einar and the attempt to free the bear, the accident, Einar being hurt? In hospital, Jean coming and waiting? His learning the truth about accidents being accidents? Admitting the truth about himself?

16.Themes of life, not giving up, not leaving life unfinished, but continuing?

REVOLUTIONARY ROAD

US, 2008, 118 minutes, Colour.
Leonardo di Caprio, Kate Winslet, Michael Shannon, Kathy Bates, Richard Easton, David Harber, Kathryn Hahn, Jay O. Sanders, Dylan Baker.
Directed by Sam Mendes.

1955 was the year that the makers of Back to Future chose as the year to return to from 1985. The journey was from the uglier aspects of the middle of the me-decade, the 80s, to a time of greater simplicity and niceness. They went back only 30 years in time. With Revolutionary Road, the film-makers have gone back to 1955 as well, more than 50 years earlier. On the surface they have found the same simplicity and niceness. But, the film probes what lies beneath the surface.

The location is suburbia, the cosy, leafy and trim neighbourhoods outside New York City. It is easy, as a number of commentators have done, to say that director Sam Mendes has been here before. He won a directing Oscar for the 1999 American Beauty, which also won the Oscar for Best Film. But that is too glib a comparison, especially as these commentators laud American Beauty over Revolutionary Road. American Beauty was far more complex. The two households, side by side, contained a greater number of characters, young and old, in moral crisis. It being the 90s, much more was on the surface and there were far more problems beneath. The treatment was franker, more explicit, according to the times.

Revolutionary Road does have some neighbours but the focus is on a younger married couple whose problems are no less serious but are those which tormented the adults of the 1950s, the problems with which we are more familiar, coping with marriage, family, jobs and discovering meaning in life.

First impressions are not necessarily correct. In a prologue set some years earlier, we are introduced to April, an aspiring young actress, whose poses and cigarette suggest some sophistication. In fact, she is a drama student. Frank says he is a longshoreman about to work in a cafeteria. In fact, he will be competent in a business office, holding down a solid job and in line for promotion. But, the first impressions linger and complicate our responses to the couple when we cut to several years later and April is upset about her poor performance in a play and Frank, thinking he is frank and open, upsets her even more by his presumption that she should give up. Then we discover they have two children.

Frank has become the kind of character Gregory Peck played in the 1956 The Man in the Grey Flannel Suit, a regular commuter to work, dissatisfied but keeping up the expected front. April has become a genuinely desperate housewife at a time when housewives were meant to be TV-commercial cheery, proud of their homes and gardens, caring for the children and waiting on their husband. Actually, the couple next door, who have four children, Shep and Milly, are living the same kind of life, Shep (David Harbour, obviously unsettled and with a gaze on April), Milly (Kathryn Hahn excellent in her constant anxiety to please her husband and make sure all is quietly well at home).

Aspects of the plot are what you might expect, Frank's friends at the office, the girls in the typing pool, the tedium of the work as well as April at home, restless. Their real estate agent friend, Helen (Kathy Bates in another different and persuasive role) has a mathematics professor son who is having shock treatment and brings him for visits. He is played so well by Michael Shannon who is very skilled in playing frightening characters (Bug, World Trade Center) and he provides a catalyst for looking at the truth.

For much of the film, April has persuaded Frank to give up his job and the whole family is preparing to move to Paris, to take a risk so that he might find what he truly wants to do, and she will support him by secretarial work there. This is pretty revolutionary for the residents of Revolutionary Road, the street where they live.

Ultimately, the film is a harrowing look at disappointment and depression, well served by fine performances by award-nominated Leonardo di Caprio as Frank and Kate Winslet as April. Both have appeared recently in Body of Lies and The Reader respectively to strong effect. These films reminds us of what good actors they are.

1.The reputation of the author? The adaptation for the screen?

2.The 1950s in the US: the ethos, respectability, niceness, values? Domestic, family, suburbia, careers? Socialising? Surface respectability?

3.The 1950s and problems, imposed expectations, repression, lies and betrayal, infidelity, gossip, envy, domestic violence, suicide?

4.The title, the irony about Connecticut and the road named after American Independence?

5.The Wheeler family, their reputation, as a couple, as a family, as ideal? The musical score – and the three-note theme with its plaintive tone for the family and for April?

6.April and Frank, the initial party, first impressions about each of them, the attraction, her wanting to be an actress, his being a longshoreman, the sophisticated look – but not?

7.The years passing, their getting married, the children, her performance in the play, criticisms? Frank as blunt in his comments? April’s sensitivity? Her not wanting to socialise? The car ride, the talk, her wanting silence, Frank and his aggression, his hitting the car? Her dismayed reaction?

8.What had happened to the marriage? Their buying the home on Revolutionary Road? The investment? Mrs Givings and her helping them with the house, the choice? Her talk? Attracted to them? The children not frequently seen – but for the birthday party for Frank’s thirtieth?

9.Frank at work, the chatter with his fellow workers, his job, the letters, the customers and their complaints, his annoyance, dictating the letter, it pleasing the bosses? The irony of his success? The offers for jobs, meals and chats with the bosses, the board, the possibilities?

10.The Campbells next door? Ideal, four children (though Shep finding it hard to distract his children from the television)? His wife, her tensions, the visits of the Wheelers, talking, sharing? The decision and the shock? Shep and his attraction to April? The meal after the decision was reversed? Happy, drinking, dancing, the wife getting ill, Shep and April staying behind? The sexual encounter in the car? The effect on each of them? Shep and the news of April’s death, talking with the newcomers, talking about the Wheelers, his grief, going outside, telling his wife that there will be no more talk about the Wheelers?

11.April and her life, her routines, the cleaning of the house, taking out the trash, shopping, chatting, Mrs Givings and her visits? The social groups in the town?

12.Mrs Givings and her husband, her job, chatter, her concern about her son, his difficulties, mathematics, April’s offer for them to visit, John in himself, his mental disturbance, his manner, talk, bluntness, the academic aspects? The effect of the visit? The later meal, John and his being confronting to both Frank and to April, his spelling out the truth about what they really felt? His spurning language? Frank and his physical attack? The parents taking him away, the nature of his insanity?

13.April’s idea for the family to go to Paris, her love for Frank, the plan, its possibilities? Frank and his declared love for Paris in the past? Talking with him, his hesitation, final agreement? April getting the tickets? Frank and his talk, with the Campbells, with his friends at work?

14.Frank and his relationship with the secretary, infidelity, her expectations and his treatment of her, going out for the drink, going to her apartment, the awkwardness after the sexual encounter? The affair? His bluntness with the girl? His decision to tell April? Her being puzzled about why he told her? Her realisation that she did not love Frank? His decision and telling his friends, their reference to Joy in the typing pool, his alarmed then smirking reaction?

15.The boss, the discussions with Frank, the proposals, the future, computers? What Frank really wanted? His comments about his father’s job – and his repeating the pattern?

16.April’s pregnancy, the discussion, the fight, the attempted abortion? This surfacing during the Givings’ visit?

17.The confrontation, the argument, the truth on each side, love and hate, April and her going into the woods?

18.The next morning, the clean house, April as niceness personified, her way of speaking preparing the breakfast, asking Frank about his work, his explanation of the computers?

19.Her preparation for the abortion attempt, closing the rooms, the towels, the bleeding, her death?

20.Frank, the aftermath, his taking the children out and watching them, his memories and regrets?

21.Mrs Givings, talking about the house, the tenants, her husband listening, her criticism of the Wheelers – and his turning off his hearing aid? An appropriate end to the film?

22.The presentation and analysis of American values, strengths and weaknesses, love and hate?

WATCHMEN

US, 2009, 163 minutes, Colour.
Malin Akerman, Billy Crudup, Matthew Goode, Jackie Earle Haley, Jeffrey Dean Morgan, Patrick Wilson, Carla Gugino, Matt Frewer, Stephen Mc Hattie.
Directed by Zack Snyder.

There are two main approaches to reviewing a film version of a graphic novel, especially one that has developed a cult following for almost a quarter of a century, as has Watchmen. Firstly, there will be the reviews by the fans, those who know the original so well that they have visualised the films themselves and will be eager to see how accurate the film version is or how well the makers have interpreted the content and characters as well as finding visual parallels to the book. Then there will be the reviews by those who may not be familiar at all with the original but who have an appreciation of films and have built up an experience of film versions of graphic novels. The first kind of review can be found on the Internet Movie Data Base and, prolifically, on the blogs and interactive sites. The second kind of review will come from the critics in the public media, in print, on air, on screen or in cyberspace. This review will be of the latter kind.

I found Watchmen most impressive.

Whether it does justice to the original material, created by Dave Gibbons and Alan Moore (1986-7), I don't know. But, as a film, despite its 160 minutes, it is never less than interesting. It almost goes without saying (so that is why it is being said here) that this is not a film for the wider audience who might be puzzled by its style, by the conventions of the graphic novel, by the intricacy of the plot. Obviously, some audiences will find the visual violence (far less than I would have expected) too much for them. Despite the hype and marketing, this is a specialist film.

The opening certainly gets the attention. One of the superheroes. The Comedian (Jeffrey Dean Morgan) is attacked in his apartment by a human or humanoid with superhuman strength and is killed. The voiceover commentary, which recurs at key times, comes from the diary of another, very bizarre, member of the group which began in the 1940s as The Minutemen, and, after saving lives and other heroics (some of which were of a dubious moral and political nature) have retired. This is Dr Rorschach whose bandage-like mask has continually moving and altering blots. Jackie Earle Haley is frighteningly effective with and without the mask. Dr Rorschach begins investigating the murder and other attempts on the Watchmen.

Then come the credits, with a fascinating visual trek through mid-20th century American history, from the end of the war, through Vietnam, Cuban crisis, JFK and his assassination and the election of Richard Nixon. It is now 1985 as we move into a parallel world where Nixon has been elected for a third term and is involved in a nuclear standoff with Russia (Henry Kissinger prominent as his adviser). Once we make the switch to the other world with this alteration of history and the murder of The Comedian, we are ready to move with whatever happens, believable or not, in the drama that unfolds.

While there is a thread concerning the five minutes to midnight on the Doomsday Clock (moving to four minutes to twelve), the film is episodic insofar as it focuses in turn on the Watchmen group and gives us the back stories of their heroism (or not) which suggests that victory in Vietnam, Watergate, All the President's Men and other events may have had more sinister implications. Ultimately, this leads to a nuclear confrontation and an insanely intelligent mastermind who feels that the only way to peace is by the sacrifice of millions lives in a nuclear holocaust.

In entering into an alternate world, the audience definitely has to suspend disbelief.

In the back stories, The Comedian does not come out very well though he has an opportunity to see the malice of his ways. Most interesting is the story of Dr Manhattan, a mutant creature with foreknowledge of his own life, not others, who was the victim of an accident in a reactor in 1959. This sends us back to a nice era with some nice people, especially Jon Osterman (Billy Crudup), who becomes Dr Manhattan, a well-known public figure who becomes the scapegoat of the villain. He loves Laurie Jupiter, once Silk Spectre II, his assistant but is impeded by his work and his sense of doom. (Her mother, Silk Spectre I is now a retired alcoholic, somewhat cynical, veteran of the old days (Carla Gugino).) Laurie also relies on Dan, formerly Nite Owl (Patrick Wilson) who has retired but has inherited enough money to continue his engineering of super-vehicles (in a Bruce Wayne kind of way). Dan and Laurie really would like to go into action again and do so, rescuing people from a burning building and getting Dr Rorschach out of prison after he is framed for murder. The prison scenes have most of the violence.

The other member of the group, who has gone public and is feted by the media, is Adrian Veidt, once Ozymandias (Matthew Goode), wealthy and the owner of many companies.

Director Zack Snyder made an impact in 2007 with 300, not so much for plot and performance (it was more than a bit silly in its re-creation of the battle of Thermopolae where the Spartans resisted the Persians), but rather with the graphic novel visuals. They were strikingly real and stylised. This is true here but this time the realism in look is to the fore – which makes some of the graphic sequences and visuals even more impressive. With these two films, whether Watchmen is a commercial success or not, Snyder's films will be studied and written about because of their cinema style.

1.The reputation of the graphic novel, its authors, as a landmark in this genre in the 1980s? Graphic novels for adults? Issues? Conventions – and the breaking of conventions?

2.The film and expectations of fans, fidelity to characters, mood, issues, heroic/not? The creation of an alternate world? The visuals for this world?

3.The importance of the visuals in the film: the realistic atmosphere, the darkness for the graphic novel action, the special effects, the flair? Costumes and décor? The creation of the alternate world? Locations in New York City, Washington, the creation of new vehicles and action? Mars? The world of Doctor Manhattan and his appearance? The masks and reality for the Watchmen? The musical score?

4.The title, the introduction to the Minute Men? The 1940s, fighting crime, the era of the creation of comic strip characters, their photos and press conferences? Heroism? Their being used by the governments, for right and wrong, Doctor Manhattan and the victory in Vietnam? The speculation and vision for the assassination of John F. Kennedy? Their personal behaviour, violence, rape by The Comedian, decline? Their ageing? Anonymity? Their being officially outlawed? The question of who watches the Watchmen?

5.The prologue, the introduction to The Comedian, his age, watching TV, his apartment, the intrusion and the attack, the humanoid who attacked him and killed him? Thrown to his death? The police, their trying to reconstruct the scene and what happened?

6.Doctor Rorschach and his diary, the voice-over, throughout the film, the nature of his investigation?

7.The credits, the overview of US history since World War Two? The focus on Kennedy and the Kennedy era, Castro and the Soviet Union, the war in Vietnam, the election of Richard Nixon, the alternate world of 1985 with Nixon still in power? Echoes of the 1980s and east and west and nuclear fears, on the brink of war? The confrontation? The illustration of the Doomsday Clock, the television debates about the future of the world?

8.The structure of the film: The Comedian’s death and the investigation, Doctor Rorschach and his investigation and diary? The interviews with the various Watchmen? The build-up of suspicions, scientists, deaths? Daniel and Laurie? The role of Doctor Manhattan and his behaviour, framed and arrested? Doctor Rorschach in jail, the rescue? The world situation, Adrian Veidt and his power? The interspersing of back-stories for the Watchmen throughout this narrative?

9.Doctor Rorschach, the nature of his mask and the changing blots? His investigation, his questions? In himself, his being framed for the murder, his visiting the scientists? In prison, the procedures, the treatment? Seeing his face? The brutality in prison, the riot, the confrontation with the dwarf? His being rescued?

10.Doctor Manhattan, his scientific work, Laurie as his assistant, his shifting in space and time? The puzzle about him and his activity, going to the television interview, the barrage of accusations about his being responsible for his friends getting cancer, their coming into the studio? His reaction, his going to Mars for reflection?

11.His back-story, the late 1950s, the visuals of that era, everything nice, Jon and his girlfriend, on the pier, his work, his going back for his watch, being trapped in the laboratory, the transformation effect? His powers, the visualising of his defending the American forces and destroying the Viet Cong in Vietnam? Used by the government? Research?

12.The women amongst the Watchmen? The lesbian relationship? Silk Spectre and her public performances, with The Comedian, the brutality of the rape? Getting old, drinking? Her relationship with her daughter, their clashes? The truth for Laurie about who her father was, the bond with her mother?

13.The Comedian, his initial success, growing old, brutality and the rape, his final repentance, going to the scientist and confessing?

14.The scientists, their research, their retirement, their apartments, the visit by The Comedian, Doctor Rorschach, their deaths?

15.Daniel as Nite Owl? His going to listen to stories from the original Nite Owl? His not having a need for money, his laboratories, his building the vehicles, the friendship with Laurie, with Doctor Manhattan? His ordinary life, going out to meals, restaurants? Relating to Laurie? Their feeling the need for action, the decision to act, his vehicle? Rescuing the people from the building on fire? The decision to rescue Doctor Rorschach, rescuing him?

16.Adrian, not anonymous, his press conferences, his charm, allegedly the most intelligent man? The Veidt organisations? His Watchman name of Ozymandias? His schemes, his use of his power, his nuclear power, setting up all the Watchmen, responsible for their deaths? His setting off the nuclear destruction? A small sacrifice, according to his calculations, for world peace? The Watchmen confronting him? The decision to cover up what he had done for the sake of world peace?

17.The background of President Nixon, his actual history, his being re-elected, the nuclear fears of the mid-80s, the advice from Henry Kissinger, the various meetings and his military advisers, the information about the confrontation with the Soviet Union, his contact with the premier, the nuclear explosions?

18.The finale, the cover-up? The Watchmen and their strengths and weaknesses? The moral ambiguity of this world?

EMPIRE

US, 2002, 90 minutes, Colour.
John Leguizamo, Peter Sarsgaard, Denise Richards, Vincent Laresca, Isabella Rossellini, Sonia Braga, Delilah Cotto, Anthony ‘Treach’ Criss, Fat Joe.
Directed by Franc Reyes.

Empire is a conventional drug story from the south Bronx where the writer-director Franc Reyes grew up. This is his first feature film.

John Leguizamo plays the lead (and acted as executive producer). He is a drug dealer who does the voice-over, explaining the American ethos of empire to make money no matter what. His brand of heroin is called Empire. However, after various skirmishes and gun battles, he decides that he wants to move out of the drug world and takes up with a Wall Street executive played by Peter Sarsgaard. Denise Richards plays Sarsgaard’s girlfriend who is also a friend of Victor’s girl, Carmen (Delilah Cotto). There are various complications, especially with Isabella Rossellini playing La Colombiana who manages a lot of the drug dealing and is also a money lender. Sonia Braga appears as Carmen’s mother. Rappers Anthony ‘Treach’ Criss and Fat Joe also portray drug dealers.

Most of the film looks fairly dark. There are quite a lot of shootouts. There is quite a lot of wrangling and rivalry in the drug dealers.

Nothing particularly startling or new.

1.New York and drug stories? The Bronx, the dealers? The race backgrounds of the dealers? African American, Caribbean? Interaction with white Americans?

2.The filming of New York, the darkness, the apartments, the streets? The contrast with the wealthier atmosphere of offices and lofts in Soho? The musical score? The songs?

3.The title, Victor’s explanation, his explanation of the American ethos for making money? His heroin?

4.Victor, his ambitions, his achievement? His relationship with Carmen, her pregnancy? His relationship with Jimmy, Tito and the other drug dealers? His encounter with Jack at the party? Interested in the money deals? The possibility of transferring his money from drugs to investments?

5.Jack, his manner, background? Could the audience see that he was lying? His smooth talk, admiration for Victor? Offering legitimate investment? Increasing the investment after the cheque for two million? His relationship with Trish? The meetings, the phone calls? The fact that he was with his mother while pretending to be in Los Angeles doing deals? Trish revealing this unwittingly? His disappearance? Victor and his anger, finding out his address from his mother? His confronting Jack? His confronting Trish?

6.Carmen, her pregnancy, wanting to stay in her neighbourhood? Going to the parties, her friendship with Trish? The jewels from Victor? Going to the loft, her not feeling happy there, returning to her mother, watching television, her mother criticising her? Her going to the loft, finding Trish with Victor? The reconciliation?

7.Trish, friendship, with Jack, party to his fraud or not? Her going to Victor, being caught? The final confrontation, Victor telling the truth about her, her being shot?

8.La Colombiana, her ruling the Bronx, the money lending, wanting the elimination of violence? The death of the dealers? Her treatment of Victor?

9.The other dealers, the map of the Bronx, dividing up the areas, turf wars, even one foot meaning thousands of dollars? The shootouts, the personalities, the consequences? Victor and his discussions with Jimmy and wanting to get out?

10.The build-up to the climax, Victor realising that there was fraud, his self-criticism, pursuing Jack, the violent confrontation, the shootings?

11.The aftermath, with Carmen in Puerto Rico, ill-gotten gains and security? The irony of Victor being shot? His final reflections on his life and experience?