WHEN ZACHARY BEAVER CAME TO TOWN

US, 2003, 85 minutes, Colour.
Jonathan Lipnicki, Cody Linley, Jesse Pennington, Jane Krakowski, Eric Stoltz, Kevin Corrigan, Sascha Neulinger.
Directed by John Schultz.

When Zachary Beaver Came to Town is based on a novel by Kimberley Willis Holt and written for the screen by its director John Schultz (Band Wagon and light comedies, Like Mike, Drive Me Crazy and The Honeymooners).

The film focuses on the world of children, the world of twelve-year-olds. Toby and Cal are good friends in a small American town. Cal’s older brother Wayne goes to war and is killed in an accident. A truck comes to town with the fattest boy in the world, played by Sascha Neulinger. He is a sideshow attraction and his guardian is in search of further acts for the group. He leaves the boy in the town and authorities call Social Security to put him into some kind of foster care. In the meantime the two friends have befriended the fat boy. There are a number of complications, emotional issues in the families of the boys including parental separation, grief at death in the family, young girls and their problems with growing up and relationships.

The film has a warmth, is also down-to-earth even if it has the touches of fantasy. There is an interesting culmination where the friends take Zachary Beaver to the river to be baptised so that he can be saved and be with his mother who is in Heaven.

1.A piece of Americana? The Texas atmosphere? The small town? Boys growing up? Friendships?

2.The atmosphere of the town, the central area, restaurants, the sheriff? The homes? The cotton fields? The gardens? The parking lot with the caravan? An authentic feel? The musical score?

3.The introduction to Toby and Cal, the same age, Cal daring Toby to climb the silo, Wayne rescuing him? Their respective families? Wayne going off to military service? The boys sad? His letters home? Cal not answering, Toby answering for them? His mother and the sad news of Wayne’s death? The boys’ reactions? The funeral? The taking of the letter, Toby giving it to the family?

4.Toby as the centre of the film? His age, his glasses, his mother giving him contact lenses? Her going off to Nashville for the competition? Her being runner-up? Her staying, the separation from her husband? The phone calls to Toby – and her literally appearing? Her song? The possibility of her return home or not? Toby and his friendship with Cal, the daring? His eyes on the young girl but her being with Juan? Activity around the town, the boys and their bike-riding, in the countryside together? The arrival of the fat boy? Their looking at him, taking the little girl and buying tickets, going into the caravan, talking with him? Their fascination? Their return, Cal looking at his Bible, Toby and his taking care of the little girl and her accident? Toby and the girl, her being lonely, having broken up, going home with her, giving her his mother’s pearls, her giving them back? Cal and Toby watching, the older boys at the caravan, their throwing stones, breaking the window? Their fear of the sheriff? The sheriff asking them to talk with Zachary? Getting the older sister to talk with him, to drive him? The news of Wayne’s death, their not turning up to take Zachary out? Toby and his grief, the clash with his father, the truth about his mother not coming back, the phone calls? His not going to the funeral, going to see Zachary, taking the truck, driving him, their escapades, the police looking, the railway line and getting off the track in time, crashing the car? The return home? The reconciliation with his father? The issues of Zachary’s being taken? Paulie and his turning up again, the happy ending for Zachary? Cal and the fight after Wayne’s death? The baptism, getting the man in the bar to perform the baptism? His warnings about drink? The happy ending and the reconciliation?

5.Zachary Beaver, the story of his mother’s death, her being large? His not being baptised? His surly attitude, partner with Paulie? Travelling around the countryside, the children watching him, the selling tickets? The breaking of the window, his frightening of the little girl? The talk, his plan to go out, getting himself ready? His disappointment when they didn’t come? The next morning, with Toby, going on the ride, telling him the truth? The baptism, Ferris and his taking them to the river, Zachary’s happiness? Paulie and his return, the settling of the issue? Going on his travels with the new acts?

6.Paulie, his being Zachary’s guardian, leaving him, the town criticism, his return, his story of being held by the police, made to work, not allowed a phone call? Zachary’s love for him? His bringing the new acts, their performance? Going off together?

7.Otto and Heather, the marriage, Otto the quiet type at home, cultivating the worms, giving them for people’s gardens? The ladybugs and the boxes, and their being set into the sky to everyone’s delight? His talks with his son, the truth about his mother, climbing onto the roof, Toby’s anger, not going to the funeral, his running away? Otto and his love for his son, their reconciliation?

8.The other parents, the grief for the dead son in war? The mother and her looking after her daughters? Neighbours?

9.The sheriff, his kindness and concern? Ferris, wounding himself to avoid going to Vietnam, his drinking, his warnings, his intending to be a minister, dressing as the minister, conducting the baptism after the discussion about Jesus and John the Baptist?

10.A portrait of a small town? Strange characters? Likable characters?

FIELDER’S CHOICE

US, 2005, 85 minutes, Colour.
Chad Lowe, K' Sun Ray, Marron Hinkle, George Segal, Ellen Green, Charles Napier.
Directed by Kevin Connor.

Fielder’s Choice is a nice telemovie. It is also quite predictable, which is part of its niceness. The film focuses on Chad Lowe as a young man, artist, with ambitions to be the art director for a big client in an advertising agency. However, his sister, also an artist (Ellen Green) lands her son (K' Sun Ray) on him for the weekend. Then you start to guess that she is going to die (which she does) and Uncle Philip will have to take care of the boy. He has an important presentation which could mean a big career from his boss (George Segal).

Many predictable things happen but Chad Lowe is quite sympathetic, even in his self-centredness. K' Sun Ray has quite a screen presence and charm. All the inevitable things happen as regards the funeral, the uncle taking care of his nephew, deciding to send him to a cousin, having second thoughts, also persuading the client that he is the best art director.

This kind of film needs a less sophisticated response because of its sentiment, heart in the right place, focus on family and relationships – as well as being able to give up lucrative careers for family.

1.A pleasing film? Human values? Unsophisticated? Predictable?

2.The Los Angeles settings, the advertising agencies, apartments? The contrast with Fresno and the countryside? Authentic LA atmosphere? The musical score?

3.The title, the focus on Philip, his experiences, the challenges, his emotions, family, career, choice?

4.The focus on Philip, the competition with Lou, J.D. and the agency? The commission for Cowboy Bob’s restaurants? Lou and his leering smile, ambitions? Philip and his earnestness? His working at home, Jill arriving with Zac, leaving him with Philip? Her breezy nature, his owing her favours, her having taught him to draw? His trying to deal with Zac, Zac being incommunicative? The next day Zac talkative? Trying to manage at home, the dog walker and taking Zac with her and the dogs? His trying to find ways to occupy Zac? His trying to get his work done? Growing exasperation? Zac coming into the office, crashing into the secretary? J.D. and his attitude? Cowboy Bob and his demands? The news of the funeral, Roy and his coming to visit Philip? Philip’s not telling Zac? The funeral? The airport, Philip telling Zac and Zac’s incomprehension? Grief? Rose and her offer to take Zac? Holly and her criticisms of Philip, their relationship? Her looking after Zac? Bursting into the key meeting? Philip and his taking Zac to Cowboy Bob’s, their eating everything on the menu? His making the decision, taking Zac to Rose? Leaving him? His presentation, in the restaurant, the slogan, ‘Eat up – share a meal’? Bob being impressed, J.D? J.D. talking with him, offering him the job? His decision, going to get Zac, the reunion? A changed man?

5.Zac, his age, relationship with his mother? The absent father? Awkwardness, learning disability and the diagnosis? The accident when he arrived? His love for the dogs? With Philip, his menus for the day, the supermarket and wanting pizza? Going to sleep? Out with Bernadette? His becoming talkative? Love of planes? His ability to draw? His annoying Philip? With Holly? The outings, the news of his mother’s death? Philip telling him at the airport, his not understanding? His questions at the funeral, where his mother was, standing with the angel? Playing with Roy’s son? His being comfortable with Roy and the boy? Philip taking him to the day-care centre but its being too busy? Bernadette looking after him and the mess in the house? Holly taking him to the office? His crashing into the secretary? Going to stay with Rose, unhappy, the food, the cousins? Philip coming to rescue him, his happiness and the embrace?

6.Holly, the surgeon, her criticisms of Philip and his responsibility? Sharing with Zac, the funeral, looking after him?

7.Bernadette, the dogs, taking Zac out, the mess in the house?

8.J.D., the agency, promoting Philip? Lou and his character, his presentation, the clichés? The presentation to Cowboy Bob, his demands, the handshake, listening to Lou’s presentation, the restaurant, Philip’s presentation and the slogan, success?

9.Human issues, presented directly, able to be understood and appreciated by the widest audience?

TROPA DE ELITE (ELITE SQUAD)

Brazil, 2007, 118 minutes, Colour.
Wagner Moura, Caio Junqueira, Andre Ramiro, Fernande Machado.
Directed by Jose Padilha.

Rio de Janeiro can be a frightening place, especially the barrios, and especially if you have seen City of God and City of Men, films that made a big impact in their own country as well as around the world. This was the world of the slums, of poverty, of drug dealers who rule the barrios with weapons and violence and of attempts by the law to combat crime. They were films which took the audience inside.

Elite Squad (co-written by the writer of City of God) will not allay the fright. This time, however, we enter the same world of poverty, drugs and violence along with the police, through an Elite Squad of intense officers who apply the law sometimes with the same violence as their criminal targets.

The film is complex in its plotting and requires a great deal of attention as well as facial recognition to remember just who is who in the squad and who is who among the corrupt police who seem to control the force. Also, after the turmoil of the opening, the action goes back six months earlier, then catches up and proceeds from there – which also requires our wits to be about us.

The narrative is a voiceover by one of the elite, a principled man with an obsessive streak who wants to find a worthy successor so that he can retire and be with his pregnant wife who gives birth during this time. His two candidates are friends from school days. At the opening we see and hear how one is single-minded and trigger happy, the other more measured. When shooting breaks out in a crowded club, we are taken into the world of the squad, including a strenuously demanding training session.

In fact, the film is very disturbing indeed, not just for the presentation of the mayhem in vivid and violent sequences, but in its portrayal of systematic corruption within the police force, the exploitation of the locals for protection from criminals and the schemes for making money by bribes as well as the cut-throat betrayals and mutual suspicions of one officer invading the protected neighbourhood of another and the plans to get rid of rivals.

As the trigger-happy squad member is assigned to repair cars (and discovers that the police steal the car parts and sell them), he becomes more and more determined to root out corruption but, uses the same means of skimming and lies, with his friend to set up culprits. His friend, meantime, is studying law at university and mixing with a group of rich young adults who are always on the lookout for hash and use the same drug lords and dealers. This character is more immediately sympathetic so that his growing more and more intensely violent is emotionally alarming as he relentlessly pursues the local murderous drug lord.

A surprise winner of the Golden Bear in Berlin, 2008, this is strong and powerful stuff which many would find very hard going.

1.The portrait of Brazil, Rio de Janeiro, the barrios, drugs, violence, poverty?

2.The police perspective, the facts of the 1990s and the Elite Squad, the preparation for the papal visit, the threats to the barrios and the drug leaders, the deaths, the fascist application of law and order?

3.The location photography, the barrios, the nightclub, the streets, the precincts? The hand-held camera? The editing and pace? The strong score?

4.The structure of the film, the opening and the shootout, the flashback, the information, the characters, the issues, the squad, police corruption, the set-ups? A different perspective when the scene was photographed again? The audience’s view of the police?

5.The continuous voice-over, informative or too much? The perspective of Capitan Nascimento? His pride, the squad? His wife and her pregnancy? His wanting to be replaced? His choice of Nato and Andre? His training them? The justification of his choice?

6.The captain and the squad, the selection of the men, the detailed training, the ethos, the fascist behaviour, Nascimento and his interrogations, vicious, the plastic bags, the guns? The contrast at home, his wife, talking with her? His arrival and his shouting at her, her incomprehension, leaving?

7.Andre and Nato and the shooting, Nato not shooting, their friendship from childhood, their being selected, their response to Nascimento, being complimentary, the set-ups, the money, the corruption, the callout to the club? The shootings?

8.Andre and the cars, the parts, learning about corruption, the phone calls, the police selling the parts? His principles? The police cuts from intakes, bribes?

9.Nato and the law, going to class, the intellectual discussions about society, law and order, the police? His being undercover? Friendship with Maria? His love for her? The rich students, his condemnation of them? Their links with the dealers, their own use of drugs? Contributing to the corruption?

10.The corrupt police chiefs, their explanations, protection issues, shopkeepers, the deals, their territories, jealousies and rivalries? The phone calls, the shootouts?

11.The club, the plan, the arrival, the crowd, the decision to shoot, the consequent chaos? The targeted police officer, corrupt but the victim of his higher officials and their jealousies?

12.The portrait of the dealers, the leaders, the drug lords, the young children used as lookouts, Nascimento’s interrogation of the boy, his being taken away, his consequent death, his mother coming to talk to Nascimento, her confrontation, his reaction, emotions, consciousness of his own child, the mother haunting him?

13.The scenes of vigorous physical training, the tough demands on the squad?

14.Nascimento and his sense of mission, the information about the drug lord, the girl and her information, going to the girlfriend, the reaction of the drug leader, his killing the woman, burning the social worker?

15.The drug lord and his escape, his eating with his friend, the raid, the death of Andre, Nato and the gun, Nascimento urging him on to kill? The end of the film – and Nascimento saying his mission had been accomplished?

16.The discussions about social issues, Brazil, Rio de Janeiro and crime? Ethical and intellectual issues? Emotional issues? A vision of Brazil and social chaos?

JULIUS CAESAR

US, 2002, 180 minutes, Colour.
Jeremy Sisto, Richard Harris, Christopher Walken, Valeria Golina, Chris Noth, Pamela Bowen, Heino Ferch, Sean Pertwee, Ian Duncan, Jay Roden.
Directed by Ulli Edel.

Julius Caesar was made for television and screened as a miniseries originally. It was edited for film length screening.

Direction is by the German Ulli Edel, responsible for strong films like Christiana F and Last Exit from Brooklyn in the 1970s and 80s. His Hollywood career was more commonplace with a number of miniseries as well as the Madonna thriller, Body of Evidence.

The film is lavish in its presentation, creation of Roman sets, scenes in Caesar’s war in Gaul, Caesar’s visit to Egypt and encounter with Cleopatra.

Jeremy Sisto is quite effective as Caesar, a more interior Caesar gradually bursting forth with rather overweening ambition leading to his assassination. Three years earlier Jeremy Sisto had been effective in the television film, Jesus.

The film was Richard Harris’s last on-screen appearance and he chews up the scenery as the Roman dictator, Sulla. Sisto adopts something of an English accent but Christopher Walken as Cato and Chris Noth as Pompey are more American. Italian actress Valeria Golina is Calpurnia and there is a range of international supporting cast from Italy, England and South Africa.

The film takes us through Caesar’s career as a young man threatened with death by Sulla, saved by Pompey, going into exile, returning home and establishing himself as a political presence, wanting to get Pompey’s legions, which he does, and going for many years to conquer the Gauls, sometimes quite brutally. His confrontation with the Gaul Vercingetorix is a strong facet of the film. (And the Asterix stories take up in comic fashion these episodes of the Gallic Wars.)

The film shows Caesar crossing the Rubicon, becoming a dictator in Rome, Pompey’s death at the hands of the Egyptians trying to please Caesar, Caesar’s marriage to Calpurnia but his ambitious liaison with Cleopatra – and, ultimately, Brutus and Cassius and the conspirators killing him. Marc Antony appears as the friend of Caesar and his supporter.

For many, their knowledge of Caesar comes from Shakespeare’s play. This film incorporates some of these elements but is a popular version of the story (and criticised by historians for its inaccuracies).

1.The popularity of stories of Julius Caesar, audience interest? Ancient Rome? Knowledge of Caesar from Shakespeare, other sources, Caesar and Cleopatra?

2.The scope of the film, the forty years of Caesar’s life? The length of the film, the range of locations, Rome, the sea, Bathynia, Gaul, Egypt? The sets, costumes and décor? The musical score?

3.The issues of historical accuracy? History, documentary or stylised drama?

4.Jeremy Sisto as Caesar, as young, ageing, the older Caesar and his character, the change of character? Idealist, persecuted, ambitious, growing more dominating and ambitious, wanting control, dictator? His relationship with his wife and daughter, their deaths? The help from Calpurnia, love, marriage? His betraying her? Cleopatra?

5.The opening with Sulla, his role in Rome, his army, the return to Rome, with Pompey? His persecuting of his enemies, dictator, his confrontations with the Senate? His confrontation with Caesar, impressed by him, ordering his death? Pompey bringing the heart, his throwing it to the dogs? Sulla’s ranting, his power, his sudden death?

6.Pompey, his relationship with Sulla, obeying him, giving up his wife? His being impressed by Caesar, not killing him, allowing him to leave, bringing an animal heart to Sulla? Caesar’s return and their friendship? His love for Julia, the marriage? The Senate acclaiming Pompey as a hero? Caesar affirming him? The confrontation with the pirates and their defeat, Pompey’s return, the praise? Caesar asking him for the legions and Pompey’s giving them?

7.The contrast with Cato, in the Senate, the other senators, the speeches, Sulla and his condemnation of the Senate, their not representing the people? Pompey and his respect for the Senate? Caesar’s presence, dominating, rebelling? Cato and his confrontations with Caesar, the army, Cato’s suicide?

8.Pompey, his marriage, Julia dying in childbirth, his grief? The change of attitude, the influence of Cato, going to fight Caesar, going to Egypt, his being killed, his head presented to Caesar?

9.Caesar, the epilepsy, the concern of his mother? His wife, her frailty, her death? Bringing up his daughter? His buying the slave Appollonius? Appollonios teaching Julia, his leaving for the slave revolt, imprisoned, Julia pleading with Pompey for him, his refusal to be freed, his comments on dignity and freedom, crucified with the slaves?

10.Calpurnia, her help for Caesar, love, marriage? Happiness? The years with Caesar’s absence in Gaul, their letters? Cleopatra’s return to Rome, Calpurnia and her stoic response, leaving the reception? Her grief?

11.The scenes in Gaul, the status of Gaul, paying taxes, living in peace? Caesar’s colonial attitudes, conquering the Gauls, his cruelty, the massacres? Caesar using Gaul as a stepping stone to power, the acclaim of the Senate, the acclaim of the Roman people? His confrontation with Vercingatorix, letting him live, his leading the revolution?

12.The siege, the strategies, the lack of food, the soldiers and the soup, Caesar’s speech on loyalty, rousing the troops? Building the walls, the women and children pleading for food, their deaths? Vercingatorix’s troops, the plan, battle? Caesar’s victory? Vercingatorix and his surrender? Being taken to Rome, his plea to Caesar about a dignified death? Caesar allowing it?

13.The issue of the Rubicon, crossing the Rubicon, the politics, Rome being afraid, Caesar’s return as dictator? Marc Antony’s confrontation of the Senate, asking the people for their support?

14.Brutus, his loyalty to Caesar, relationship with Cato? His change of heart, becoming one of the conspirators?

15.The Ides of March, the seer, Cassius and his plans, Brutus, Caesar going to the Senate, Calpurnia and her dream, her warning, Caesar in the Senate, the assassins killing him, the other senators fleeing?

16.The aftermath of Caesar’s rule? Octavius taking over and becoming the emperor Augustus?

MAN FROM PLAINS

US, 2007, 127 minutes, Colour.
Jimmy Carter, Rosalynn Carter, Alan M. Dershowitz, Wolf Blitzer, Larry King, Jay Leno.
Directed by Jonathan Demme.

The Man from Plains, Georgia, is President Jimmy Carter.

Audiences expecting a biography of Jimmy Carter will be only partially satisfied. This film takes place over a two month period at the end of 2006, early 2007, as the former president goes on a book-signing tour through the United States, promoting ‘Palestine: Peace not Apartheid’. The president’s life and background are filled in, but the focus is on the tour and the furore it aroused.

It should be said that, at the time of the tour, Carter was 82 (and been married to Rosalynn for 60 years). Carter is full of energy, intelligence and the good will that has marked his international role for almost thirty years after he was defeated in the 1980 election by Ronald Reagan.

The film has been written (constructed and edited from hours of footage) by Jonathan Demme, best known for his Oscar-winning Silence of the Lambs and other feature films like Philadelphia, The Manchurian Candidate. However, Demme is also known as a top documentarist, of rock concerts, but also his story of Haiti and Jean Dominique, The Agronomist (2003). Demme does not intrude in any way in the film although it is his perspective on Jimmy Carter, a man whom he admires. This is a tribute to Carter that will not persuade Carter’s critics to like him but will endear him to those who do like him. The film is not without some voices of critique, especially about Carter’s stances and writing on the Israel -Palestine situation. The most telling of the voices of criticism is that of celebrity lawyer, Alan Dershowitz, who offers some telling parallels between Hamas and Nazi Germany as elected governments who commit atrocities.

There is also some criticism of the title of the book and the use of ‘apartheid’ which was a racial separation before a political separation. Carter defends the use of the word and amplifies its meaning.

While the tour is interesting in its moving from city to city (including a look at New Orleans and the lack of reconstruction a year after Hurricane Katrina), it is also fascinating in its range of radio and television interviews that travel over the same material and the way that Carter keeps answering. There are some well-known personalities like Larry King, Jay Leno and Wolf Blitzer and many American hosts who would be well-known to American audiences. Some have read the book, others not. Some ask the routine, even cliché, questions. Others try to get to the key issues between Palestine and Israel, especially concerning terrorist acts and mediation for accord and peace. There is an interview with an Israeli television channel but a group of Rabbis from Phoenix who asked for a meeting blur their faces and heads and refuse to let the media into the talks. Meanwhile, outside, there is a frighteningly bigoted demonstration on the part of Jewish protestors against Carter and hurling frightening abuse at Palestinians who are gathered there.

The film also includes scenes of terrorist acts by Palestinians and military reprisals by Israel with deaths of civilians and children on both sides.

Throughout the film, there are glimpses of Carter’s life. His coming from Plains and his black nurse and a visit to her grave, scenes of barbeques with friends (preceded by a grace and blessings), a talk in the church where he is a deacon and his unabashed comments on his faith and bible reading with his wife. He visits veterans from the Iranian holding of marine hostages in the 1980s and gives his explanation for his patient negotiation.

Most impressive are the scenes of Camp David and his bringing together of Israel’s Menachem Rabin and Egypt’s Anwar Sadat and the friendly signing of the accord between the two countries – an image that is important for the contemporary Palestinian situation.

This is a continually interesting portrait of a man who could have retired after his one term in office but who has developed foundations for building communities all over the world and who has been willing to be on the world stage to negotiate for peace wherever it took him.

1.The impact of the film: a portrait of Jimmy Carter, the world of 2006, Middle East crises, the focus on the book tour, Carter’s personality, age, energy, views? Provocative? The opposition?

2.The film as a eulogy, Jonathan Demme liking and esteeming Carter? The audience’s reaction to him? His story, his policies, his work as a statesman for world peace, Nobel Prize, his achievement? People differing from him, especially Alan Dershawitz?

3.The world of 2006? The Bush administration and policy? The policies, Iraq? The United States being despised around the world? The status of Israel? The experience of the Palestinians? The building of the wall? Hamas, Iran, threats? Terror? Democracy? The treatment of the Palestinians, the anti-Semitic feeling around the world, America and Jewish policy?

4.The structure of the film: the scenes in Plains, the introduction to the book tour, Carter and his explanation of the Palestinian situation, the maps, the title of the book? The range of the book tour, the main cities of the United States? The return to Plains? The collage during the final credits? The insertion of Carter’s past: the verbal comments about his visit to Israel in 1973, his oil policy and the crisis, the hostages in Iran and his explanations of his policy? The hostages all released safely? The visuals of Carter as young, as president? The importance of the meeting at Camp David, Begin, Sadat? The elections?

5.Jimmy Carter and the Georgia background, his taking the camera on a tour of the properties, the explanations about the trees, the crops, the family land? Seeing his mother with Johnny Carson in the flashback? Her role as a nurse, the Peace Corps and her clinic in India? The story about the later visit? Rachel as a second mother, the black woman working in the family, her care for Jimmy, teaching him fishing? Seeing the variety of his friends in Plains, the barbeque, meeting everyone, photo opportunities, genial? His ability to work the crowds (as later in the body of the Plain)? Rosalynn, her love for him, her role in his life, sixty years married? The phone calls, the reading of the Scriptures, the bike rides?

6.The religious dimension of Carter’s life, the deacon in the local church, his talking about Jesus, his talking about the miracles, his talking about disbelief, his talking about faith? His commitment, grace before meals, asking blessings, his reading of the Scriptures (even in Spanish)? His speech about the heritage of Abraham? His Christianity pervading his life? His not being self-conscious about it?

7.His energy, aged eighty-two for the tour? Liz Hayes and Simon and Schuster executives, Liz accompanying him, preparing the interviews, the meetings with the publishing executives? The status of the book as a bestseller? His winning Grammy awards for his readings? The secret service personnel with him? His taking commercial flights, carrying his luggage? The hotels? His even-keel approach, his comment about the obnoxious phone-caller? His general genial response to interviewers?

8.The range of interviews, the radio personalities, the film’s establishing these personalities, the type of program, the city in which they worked? The preparations, the questions? The issue of whether they had read the book or not? On air, the comments on the title, prejudice, anti-Semitic, the role of Israel, the Palestinians?

9.The range of television interviews, going to the studios, the makeup, the discussions with Sheila Evers in Los Angeles? The film establishing the range of the hosts, Wolf Blitzer, Larry King, Jay Leno? The differences of opinion?

10.The interview with the Israeli personality, the range of the questions, the challenges, Carter’s focus and answers? His interview on Al Jazeera?

11.The issue of the rabbis in Phoenix, the huge protests outside the studios, the Palestinians as victims, the focus on the vicious young man screaming abuse at the Palestinians? The discussions with the rabbis, the rabbis’ faces being obscured? Their declining to give permission for their answers to be filmed?

12.The variety of signings, the range of people met, their comments, especially the Palestinians?

13.The issue of Brandeis University, inviting Carter, withdrawing the invitation, his going, the questions from the students? The issue of the debate with Alan Dershawitz?

14.The initial quotes from Dershawitz about the book? The filming of Dershawitz himself, his comments, the issue of ‘so-called Holocaust’ and Dershawitz’s sensible comment on this? Dershawitz bringing his forensic skills to his objections, especially the legal status of Hamas, its being elected, and the parallel with Nazi Germany?

15.The title of the book, the range of questions about apartheid, the definition of apartheid, Carter saying it was not an ethnic issue but a civil rights issue? Hamas, Israel? His praise of Israel, his criticisms of its treatment of the Palestinians, of the building of the wall? His past support? The picture of the Camp David discussions, the extraordinary images of Sadat and Begin embracing, signing the accord? The criticisms of him by Kenneth Stein and Dennis Ross especially about the maps? His response to them? The insertion of images of the Palestinians and terrorism in Israel contrasting with the bulldozing of Palestinian houses, the violent treatment?

16.Palestein, terrorism, Carter acknowledging this?

17.Camp David, showing the possibilities for peace? Carter and his talking about the Geneva conventions and the possibility of agreements? The Nobel Peace Prize?

18.Carter in himself, his work? The importance of habitat and the building of homes, the sequences in New Orleans and his working, the buildings in Ethiopia, the rest of Africa? Carter and the glimpses of his statesmanship worldwide, Cuba, India …?

19.The overall effect of the film? Portrait of a person, of a statesman? Of a 20th century American? People anti-him continuing to be anti? Those in favour, learning something about him and his policies even into the 21st century?

MOJ NIKIFOR (MY NIKIFOR)

Poland, 2004, 97 minutes, Colour.
Krystyna Feldman, Roman Gancarczyk, Lucyna Malec.
Directed by Krzystof Krauze.

Moj Nikifor is the story of the ‘naïve artist’, Nikifor Krynicki. Nikifor lived on the margins of society, sometimes on the streets. His work was on scraps of paper or anything that was lying about. Towards the last years of his life he became more famous, and his fame spread after his death in 1968.

Given the subject of the film, it is somewhat glum at times in its portrait of the cranky Nikifor and in the struggles of the artist Wlosinski who took him under his wing, had to re-examine his own artistic capabilities, alienated him from his wife because of his helping Nikifor.

What is particularly striking about the film is that Nikifor is played by a woman. Krystyna Feldman won many acting awards for this performance. Audiences not knowing that the old and unkempt Nikifor was being played by a woman, would never guess.

This film takes its place among the many portraits of visual artists.

1.The impact of the film? Interest in Nikifor? His career, life? The quality of his art?

2.The re-creation of Poland in the 1960s? The communist era? The drab aspects of life in the countryside? The country town? The world of art, the world of social communication? The world of the artists? The musical score?

3.The portrait of Nikifor, the fact that the performance was from a woman? The appearance, the makeup, the voice? The personality of Nikifor, his being alone, never marrying, saying that he was sick in the head? His art over the decades, on scraps, his skills? Naïve art? The encounter with Wlosinski? His going into the studio? The cultural venue, the work that Wlosinski was doing? Nikifor and the criticisms? Wlosinski’s negative reaction? The change, appreciating Nikifor’s art? Nikifor and the way of life, relying on Wlosinski? His work over the years?

4.Wlosinski, as a person, his doing the government commission, a routine work of art? Finding Nikifor, his reaction, taking him in? His life in the studio? Nikifor’s criticism of his work? Wlosinski’s own life, relationship with his wife? Her help with Nikifor, finding it too demanding? The family, the children?

5.Wlosinski and his investigating Nikifor’s identity? The discussions with the landlady, with Mr Budnik, with the priest? Searching the records? No documents for Nikifor?

6.The visit to the church, Nikifor and his comments about religious subjects, his criticism of Wlosinski’s religious belief – and lack of belief? Urging him not to paint religious work?

7.Hania, her relationship with her husband, their daughters, her criticisms of her husband and his attention to Nikifor?

8.Budnik, his friendship with Nikifor, the discussions about Nikifor’s health, going for the x-ray, the TB?

9.Nikifor, his doing his own paintings over Wlosinski’s own painting, the damage?

10.Nowak, the cultural attaché, his attitude towards Nikifor and allowing him to stay? The illness and Nikifor having to leave the studio?

11.Wlosinski, his going to Nikifor’s village, Nikifor and his memories of his life? Their work together, Nikifor and his continued criticisms?

12.Nikifor, hospital? Wlosinski and the effect of the experience with Nikifor, not accepting the promotion? Her leaving him? Wlosinski and his discussions with his father, his concerns about his own talent?

13.1967, the exhibition, Nikifor and his reaction to the celebrations? His going into the street, sitting there, begging? Wlosinski finding him? His gradual deterioration, his death?

14.His not actually dying, Wlosinski and Hania and her joining him again? Nikifor dying later?

15.The insight into an eccentric mentality? His artistic talent? His way of life in his era, in his national context? The background of communist Poland and Nikifor’s life being a reflection of this rather repressive regime?

WENDY AND LUCY

US, 2008, 80 minutes, Colour.
Michelle Williams, Will Patton, Will Oldham, John Robinson, Wally Dalton.
Directed by Kelly Reichhardt.

Wendy and Lucy is a brief portrait of a young woman travelling from Indiana to Alaska for a summer job who is stranded in Oregon with her dog, has some bad experiences for a couple of days, and then moves on.

Audiences who relish films that emphasise art and craft over flair and effects will welcome this very plain film. It is quite unfussy. It is quite unhurried. It relies on audiences being interested in Wendy (and it should be mentioned at once that Lucy is her dog). It is a slice of life presented in minimalist style.

One of the difficulties with this kind of minimalist film-making is that the director must ensure that the audience is really interested in the character and appreciates events and situations. Michelle Williams is quietly effective as Wendy. A supporting cast of character actors make the situations seem real (although Wendy's momentary attempt at shoplifting when she did have some money raises some dramatic questions about her behaviour and motivation). There is a security guard who moves her on out of the supermarket parking lot but is kindly later. A very proper young man demands prosecution because of the shoplifting. A mechanic (Will Patton) explains why Wendy's car has broken down.

But, many audiences will find they have minimal interest in Wendy and her experiences which the even-paced minimalist style will not increase. With all the best will in the world, and admiring the skills brought to the film-making, this was the experience of this reviewer.

1.The minimalist style of the film? Simple focus on characters, locations? Not obtrusive for the audience? The effect of observation by the audience?

2.The Oregon setting, the town, detail, the countryside, the garage, the hotel, the police office, the prison? Authentic? The musical score?

3.Audience interest in observing this minimalist style and minimalist story? The portrait of Wendy? Her plight? Her dog?

4.The attitudes of the townspeople, the security guard warning her off – yet friendly later, helping her, the message, the dog? Andy at the store and his severe attitude towards her shoplifting? The mechanic, his work on the car, matter-of-fact presentation of the facts? The grocery cashiers and their help? The pound employee and her friendliness? A mixture and cross-section of American people?

5.Wendy in herself, seeing her at the opening walking through the woods with her dog, coming across the group, discussion of her prospects for a job in Alaska? Her bonding with Lucy? Her age, her appearance, hair, clothes and shorts? Her sleeping in the car, her being moved on by the security guard? Her reaction? Her going to the store, the shoplifting? Her reaction, her denials? The young man and his severity? The police? Her being taken by the police, her not being able to unleash Lucy? In the prison? The demands about the fine, her paying in cash? The reason for her shoplifting if she had cash? Looking for Lucy? The search all around the town? The problem of her car, going to the garage, its not always being open? The discussions with the mechanic, the quote, recommending to buy a new car? Her puzzle about the dog, going to the pound? Sleeping in the car, being moved on by the police? The good news from the security guard, going to look for Lucy, finding her, realising she would have to leave her behind and that she had a good home? Her getting on the train, going to Alaska? Knowing very little about her background? Her phone call, to Indiana, the reaction of her sister, not wanting to give money, her brother-in-law? Her prospects? The portrait of a young American woman?

6.The security guard, the letter of the law for the supermarket parking space? Helping her push the car? Sympathetic? His wife in the car, the message about the dog, giving her some money?

7.The supermarket, the young man, his exact demands according to the letter of the law? His meeting Wendy afterwards and her comments?

8.The mechanic, sympathetic, explaining the situation clearly?

9.The other people in the town, cross-section of people, some kind, some severe? The cashiers at the store, the woman at the pound?

10.The minimalist style, the minimalist story – admiration for the film? Difficult or easy to identify with the characters and plot?

A STUDY IN SCARLET

US, 1933, 71 minutes, Black and white.
Reginald Owen, Anna May Wong, Alan Mowbray, Warburton Gamble.
Directed by Edwin L. Marin.

A Study in Scarlet is one of the rare film versions of Sherlock Holmes’ 1887 story. However, screenwriter Robert Florey departs from the basic plot of Conan Doyle’s novel and constructs a parallel story with influences from other Sherlock Holmes tales. The film resembles Agatha Christie’s Ten Little Indians/And Then There Were None. This is especially true of the elimination of victims, the fact that the murderer had eliminated himself in pretence – and the use of the nursery rhyme finishing ‘and then there were none’. However, Agatha Christie did not write her novel until 1939.

The film has an atmospheric London setting, has a British cast, has the atmosphere of London and of Holmes’ stories (and of the films made of them in the 20s and 30s).

Reginald Owen had played Doctor Watson and now plays Sherlock Holmes, the intention being a series. However, this was not to be. Anna May Wong is an exotic presence in the film as Mrs Pyke. Alan Mowbray, often in comic roles, is Inspector Lestrade.

There is a particularly interesting sequence at the end when the unknown murderer visits his lawyer – and the camera is the eyes of the murderer, walking into the room, having an interview, blowing smoke. Edwin L. Marin directed a number of genre films up till 1951 and his death, his last films being westerns with Gary Cooper and Randolph Scott.

1.The popularity of Sherlock Holmes stories? The many film versions? This particular story? The screenwriter’s departing from the original?

2.Hollywood studios and London settings, Victoria Station, the streets, Limehouse, the river? The interiors? Effective? The impact of the subjective scene with the murderer visiting his lawyer? Musical score?

3.Reginald Owen’s impersonation of Sherlock Holmes? A man of the 1930s? An investigator? Not having the usual characteristics of clothes, deerstalker, smoking as in the traditional pictures of him? Doctor Watson as supportive, a touch eccentric but rather subdued? An effectively different Sherlock Holmes?

4.The focus on the scarlet ring, Thaddeus Merridew and the meetings? The discussions about the inheritance? People dying, the list of members and their deaths? The motivation for greed, larger shares of the inheritance? Eileen Forester and her presence? The other members, British, Chinese? Holmes’ explanation of the Chinese background and the division of the jewel?

5.The successive murders and their effect, including Captain Pyke?

6.Holmes, his antagonism towards Merridew? His being approached by Mrs Walsh, the visualising of her husband’s death? Murder? The contact with Eileen Forester, with her fiancée? The notice in the paper, the biblical references? Holmes and the detail of his investigations, exploring the buildings, the river?

7.The encounter with Mrs Pyke, her Chinese background, touch of the exotic?

8.Wilson, his going to the meetings, his fear, his decision to go to Holmes, giving information, going to the hotel?

9.Merridew, the plan? Captain Pyke faking his death? The set-up to kill Eileen Forester? To kill Wilson? The presence of Mrs Pyke?

10.The atmosphere for the final confrontation, the atmosphere of the deaths, the telegrams, the concern of the fiancée, the abduction of Eileen Forester? The rescue, the confrontation, the arrests? The role of Inspector Lestrade, his contacts with Holmes, getting the credit?

11.An entertaining Sherlock Holmes film – 30s style?

THE CREW

UK, 2008, 117 minutes, Colour.
Scot Williams, Kenny Doughty, Rory Mc Cann, Stephen Graham, Cordelia Bugeja, Philip Olivier, Rosie Felner, Raza Jaffrey.
Directed by Adrian Vitoria.

For more than ten years, many film-makers in the British film industry have had a fixation on making gangster films. So many small budget films, so many from first time directors. They tend to show a brutal side of British life, an amoral world of criminals. Some of them have qualities but the films tend to be lost in the welter of similar productions.

The Crew is another of these films. However, it is better made than the average. The director has worked on television series and knows how to tell a story and create atmosphere. This atmosphere is Liverpool and the old style crews who were into burglary and hold-ups, who even had their own hierarchies and codes of respect, some honour among thieves. In the 21st century, things are not the same at all. The younger members of the crews want to make it big for themselves and have few qualms about loyalty and betrayal and murder of rivals does not seem to bother them at all. Their trouble is they think they are smarter than others and this is their undoing unless they are completely ruthless. Another complication is the gangs moving in from the continent, especially from Eastern Europe, who have had longer histories of factions, war and brutality and have no qualms about muscling in in new territories. It's no wonder that the criminals from the old school are either bent on consolidating, no matter what, or are sick of it and want out.

That is what The Crew is about. It opens with a failed robbery. It ends with an elaborate repeat of the robbery with success for some and death for others.

The film captures an atmosphere of a part of Liverpool. The criminals are now better off, live in better houses and apartments – and can celebrate the First Communion party of the son of one of their members. It looks as if the Serbs have the sleazier locations and premises.

This is also the story of two brothers, Ged and John Paul Brennan (Scot Williams and Kenny Doughty). Ged is the boss of the crew, but who feels that his luck is running out and now feels some responsibility towards his little boy. His wife has a cocaine habit and is easily misled by smooth-talking neighbours, as is Ged, who are white collar fraud criminals. John Paul (nicknamed Ratter) is envious of his older brother and, along with an obnoxious sidekick (Paul Olivier) sets calamity in motion with his wanting to get into drug dealing and to oust his brother.

All of the characters have their unpleasant side and it is hard to identify with any of them, which means that the audience is observing rather than empathising. The screenplay does not underplay the vicious violence, the sexual indulgence of the characters nor their callow and crass language.

One of the better films of the genre but many will find its characters and situations repellent.

1.The many UK gangster films of the 1990s and 21st century? Comparisons with American gangster films? Asian gangster films?

2.The Liverpool settings, the middle-class world, the world of criminals, sleazy aspects, clubs, warehouses? The contrast with the ordinary streets, homes? The cityscapes across the river? The musical score?

3.The title, reminder of old-style gangs and crews? The crew and their bosses, hierarchy and loyalty? Involved in holdups and burglary? The change in criminal activity, drug dealing, the eastern Europeans, especially the Serbs, the outsiders coming in? The different codes? The Serbs and their not having the British way of doing things? The younger British generation, self-centred, betrayals? The moral perspective of the characters in this film?

4.The opening, the holdup, the crew, waiting, the truck, masks, guns? The empty trucks? The treatment of the driver? The result?

5.The focus on Jed: his life, marriage with Debs, his son, at home with his family, going to work, not being able to drive his son, sending him to a posh school? His decision to repay his friends after the failure of the heist? Debs’ reaction? Later in the day, Pam’s visit, the cocaine? Jed and the meetings, the plans, his not wanting to deal with drugs, his relationship with his brother? The crew meeting to discuss, their stances? His clash with Paul and with John Paul? The friendship with Keith and Pam, the meetings, the land site, his being persuaded to invest, his not telling the other members, his wariness with Debs and Keith and Pam, inviting them to the party?

6.Jed and the meeting, Paul and his pitch, John Paul setting it all up, sending Paul in, the argument? The complication with the death of Leo, suspicions? At the barbecue, the clash with John Paul, the fistfight? Keith? Moby as a member of the crew, unreliable? Jed having to save him, the duel and fight? Jed’s relationship with Franner and the hierarchy of the gangs? Jed and the crisis with Debs giving the money to Keith and Pam, losing the money, the empty house? Wanting out? Richie and Leo’s murder? The new job, the last? Planning with Jimmy? The change of plan and robbing the first load, setting up the Serbs? Success, the celebration? His permitting his brother’s death, not being his keeper? His relationship with Debs after the success, the final of seeing him going to Spain to confront Keith? Leaving it to the audience’s imagination?

7.John Paul, part of the crew, his love of guns, his relationship with Paul, sending Paul into the crew’s meeting, the set-up, arguments about the drugs, failure with his plan? The fact that he had arranged the killing of Leo? Using Richie? His envy of his brother, his self-centredness, the fight at the barbecue? Paul and the couple in the loft, sexual behaviour? His further plans with the Serbs, not having the money, trying to keep control, the discussions with Franner? The betrayal, the change of the date for the heist, his being missing? With Franner, his death?

8.Paul, his personality, edgy and frantic, his friendship with John Paul, trying to set up Jed for the drug deals, his being ousted? His sexual orientation and behaviour? With the Serbs? The confrontation with Franner, running and being shot?

9.Moby, sexual preoccupation, the plan for the First Communion party, his going to the large prostitute, his place in the gang, friendship with Jed, drinking too much, Jed trying to control him? His anger with the Serbs, the challenge to the duel, the fight? The First Communion party? The end and the success of the heist?

10.Franner, his working with Leo, his place in the hierarchy, his giving permissions? Searching for Leo’s killer, the kids and information, paying them? The discussions with Paul? With Jed – and the permit to kill John Paul?

11.Keith, smooth, white-collar respectability, Pam, her seduction of Debs, the cocaine? The fraud and its success? Getting all the money?

12.Debs, at home, her relationship with Jed, concerned about the money, the cocaine, seduced by Pam, willingly giving her the money?

13.The Serbs, the club, sleazy, the drugs, John Paul trying to do a deal, the fight, the duel with Moby, at the final heist and their being tricked?

14.The various members of the crew, the meetings, loyalties and codes?

15.The final robbery, the set-up, the tricks for the Serbs, Jimmy, the success and the robbery?

16.The open end as Jed goes to Spain? The overall impact of this kind of film, unpleasant characters, an immoral and amoral world? Observing rather than empathising?

THE CRIMSON KIMONO

US, 1959, 82 minutes, Black and white.
Victoria Shaw, Glenn Corbett, James Shigeta, Anna Lee.
Directed by Sam Fuller.

The Crimson Kimono has a good reputation as a film noir from the end of the 1950s. It was written and directed by Sam Fuller, with a reputation for hard-hitting screenplays and direction. His earlier films include Park Row and The Pickup on South Street. In the 1960s he made an impact with The Naked Kiss and Shock Corridor. His autobiographical The Big Red One was a significant World War Two film of 1980. Fuller has attained a strong reputation amongst cinema buffs and students of film.

This film is set in Japan Town in Los Angeles, a sleazy area, a strip club, a world of artists. Victoria Shaw (Australia’s Jeanette Elphick who went to Hollywood in such films as The Eddy Duchin Story and The Edge of Eternity) is an artist. Glenn Corbett (in his first film) and James Shigeta are two detectives investigating the murder of a stripper. They both fall in love with the artist. Since one is Japanese -American and the other American -American, and though they served together in World War Two, the interracial themes are raised quite significantly and strongly. Anna Lee portrays an eccentric artist.

The film is strong on atmosphere, atmospheric black and white photography, angles and close-ups, chases. The personal confrontations between the central characters are quite strong.

The film is interesting as coming fourteen years after the end of World War Two, a focus on Japanese -American relationships, especially for the American -Japanese and the way that they were treated during the war.

1.The reputation of Sam Fuller, his writing, directing? Characteristics? Strong, direct, confrontational?

2.The Japan Town setting in Los Angeles? The sleazy streets, the clubs? The contrast with the studios of the artists? The range of characters in Japan Town? The musical score?

3.The focus on Sugar Torch, the outside of the theatre, her performance, her manager, the confrontation, her running away, being shot in the street? The mystery of the portrait of her, the mystery of who would kill her? The revelation of the plan for a Japanese performance, the various advisers, the painting?

4.Charlie and Joe as the detectives? Their background in World War Two, the blood transfusion from Charlie to Joe? As partners? The discussions with Mac, with the proprietor of the club, the various connections with Sugar Torch? Their discovering that the signature on the paintings was Christine? Meeting her, getting the background of the painting, her work? Each falling in love with her? Her response?

5.Mac, drinking, the eccentric artist? Her husband? Her friendship with Christine? Advice on painting? The discussions and help with the detecting? The final revelation about her husband, her judging him wrongly her shooting Sugar Torch? The chase in the parade at the end? The final glimpse of her?

6.Joe, in love with Chris, the effect on him, words indicating racial attitudes, his misinterpretations, his clash with Charlie? The formal clash in the martial arts confrontation? His discussions with Chris, her trying to make him understand? His enlightenment when he realised that Mac had misjudged appearances and her husband?

7.Charlie, tough, the detection work, working with Joe? His language, his explanations of his envy, reasonable? The tension between them? The possibilities of friendship for the future?

8.The variety of characters in Japan Town? The proprietor of the club? The patron giving money for the development of the performance? Hansel and his connections, his being misjudged?

9.An effective film noir – at the period when this kind of film, post-war drama, was coming to an end?