THE MESSENGER

US, 2009, 105 minutes, Colour.
Ben Foster, Woody Harrelson, Samantha Morton, Steve Buscemi, Jena Malone.
Directed by Oren Movermen.

Taking as its starting point the war in Iraq, this contribution to the Iraq and post-Iraq US cinema focuses on the military personnel whose job it is to inform next of kin of the deaths of men and women killed in action. In the past, World War II experience, there was the telegram delivery and the stoic grief. This time we have several episodes in quite heart-rending close-up. The toll on parents, widows, children is seen briefly but powerfully. A cameo by Steve Buscemi as a father brings the upset and anger home to audiences.

The other feature of the film that of the title itself, The Messenger, specifically two men, one Will Montgomery (Ben Foster) as a convalescing veteran with three months of his tour of duty to serve out, the other Tony Stone (Woody Harrelson) who is his superior in the messenger job. Both Foster and Harrelson give commanding performances.

There are no visuals of the war, only verbal descriptions, especially later in the story when Montgomery tells Stone of the episode where he was wounded, made him consider suicide and gained him a military decoration.

The film is about the war and the trauma for personnel, for families, for the nation which, in the post-Bush era, it will have to deal with more extensively and more compassionately.

Stone is an army professional who has the clear, objective spiel off by heart with a well-worked out series of details to be most effective in delivering the news without any extra disturbance. Montgomery is affected by each visit and knows that detachment might be of more help for the calm and control of the messenger but humanity is needed for those receiving the message. He is moved by a widow who thanks them for coming (Samantha Morton) and he returns to help her and her son – which does work out quite as predictably as expected.

The screenplay (winner at Berlin) is both strong and credible – although drunken Montgomery and Stone (who is a recovering alcoholic) gatecrash Montgomery's former girlfriend's engagement do – which gives a screen opportunity for speeches about supporting the troops and the soldiers' disbelief at hearing the well-meaning cliches.

Much reference to Vietnam, the Gulf War, Bosnia and Iraq and the US's almost half-century of dealing and not dealing with the consequences of war. Well worth reflecting on.

1.The impact for an American audience? Military background? The relatives of those killed in warfare? A worldwide impact?

2.The background of fifty years of America at war, fighting in wars, casualties, the injured, death? Grief and coping? The contribution of this film to understanding?

3.The New Jersey setting, the base, the suburbs, houses and shops, suburbia? The countryside? The lake and fishing? Ordinary USA?

4.The musical score, the use of ‘Home on the Range’? The introduction to Will, his eyes, the injury to his eyes, his leg, the discussions with the doctors, the drops? His being in action, return? The meeting with Kelly, the sexual encounter, the meal, the discussion? Her saying she was engaged to Alan? His not wanting an engagement with her because of the possibilities of his death in action?

5.The introduction to Stone, officer, as part of the Messenger Squad, his task? The interviewer, Will and his strength of character, serving in this capacity for three months? The nature of the task, working with Stone?

6.The task and its routines, Stone and his explanation, knocking on the door, no touching, the spiel, the aspects of time and waiting, the impersonal nature of the message? The rules?

7.The examples of the action: the visit to the mother, the pregnant mother, her distress? The father, his anger, calling the messengers cowards? His later apology? The father, the supermarket, grief? The wife, living with her lover, not having told him the truth? The widow and her apologising to the messengers for having to do their job? The range of different responses? The effect on Will, the effect on Stone?

8.Will as a character, his pain, his eyes, listening to music, pumping iron, living alone, the phone calls to Kelly?

9.Stone and his background, completely dedicated to army life, the buddy system, drinks, talking with Will, the girl at the bar, the sexual encounter? His trying to persuade Will to be more extroverted?

10.The incidents and their revealing of characters? The example of the police pulling them over, the interactions with the police, shaming the police?

11.Will and Stone, going to Olivia, discussions about her and her plight, her son? Speculation on her marriage? The supermarket, the recruiters and people’s reaction? Her son? Will giving her a lift home, helping her, the meal, the boy and the eating of broccoli, packing up, the relationship, no proposal, Olivia and her deciding to move away, Will coming to help with the final move, giving him the address, going into the house?

12.Will and Stone, the anger with Stone, the drinking, the girls, going fishing, Stone and Alcoholics Anonymous, his breaking his pledge? The college kids and the confrontation, the fighting, Stone’s injury?

13.Their decision to gatecrash the engagement party, meeting with Kelly, with Alan, the guests having to cope, the toasts, the speech about support of the forces, the reactions of Will and Stone?

14.Stone, his staying within the military, security there?

15.Will, the three months up, his decision about his future?

16.The end, the effect, Will and the possibility of some hope with Olivia? Stone and the experience of having worked with Will?

LA TETA ASUSTADA (THE MILK OF SORROW)

Peru, 2009, 94 minutes, Colour.
Magaly Solier.
Directed by Claudia Llosa.

A glimpse of Peru, people, customs, culture, superstitions.

The striking opening is in song. An old dying woman laments the brutality of her rape and her fears for her unborn daughter. Linked with this is a tradition of the 'milk of sorrow', the passing on of the fear to a child from its mother's breast. Another tradition is the insertion of a potato into the vagina to prevent rape. These mythical beliefs are in contrast to contemporary medical practice in the villages on the outskirts of Lima.

The central character is Fausta, the reticent daughter of the old woman. She also has a gift for spontaneous singing. When she goes into service for a rich woman, she agrees to receive a pearl from the woman's necklace each time she she sings for her. The film offers a series of glimpses of Fausta – living at her uncle's where her cousin is preparing for a wedding, going to look for coffins for her mother, wanting to earn money to take her mother back to their native village.

Fausta is both fearful and strong, slow but also wise (but not worldly-wise).

Director Claudia Llosa brings a female sensitivity to this portrait of an unusual young woman as well as women's issues. Winner of the Berlinale Golden Bear.

1.A perspective on Peru? The winner of the Golden Bear in Berlin? A focus on people, the community, society, traditions? Social and religious background? Myths and superstitions? Their place in Peru in the 21st century?

2.The outskirts of Lima, the mountains, the dry terrain, the desert sequences, the villages? The contrast with the mansions? Rich and poor?

3.The opening and the old woman singing, Fausta’s mother? The story of the rape and her suffering? The gift for Fausta to compose and sing? Imagining stories and the melodies? Aida and her listening, her transferring Fausta’s melody for piano recital?

4.The tone of the mother, her terror, the rape, her suffering, concern for the unborn child? Her dying? Fausta and her care for her mother? The women, their tending to the body, preparing it for burial? Fausta and her cousins going to the various dealers, the conditions of the coffins, the price? Her wanting to earn money to take her mother to their village? Going into service?

5.Fausta and her age, her love for her marriage? Staying with her uncle and the family? The story of the milk of sorrow and the transferring of suffering through the breast milk? Her mother and the stories of the potato, prevention against rape? The growth of the potato? Discussing this with the doctor? Fausta and her not using it? Her prescription and her tearing it up? Her growing worry, clipping the sprouts? Her fear and superstition?

6.The explanations of the milk of sorrow, the mother’s milk and fear?

7.The portrait of the family, the uncle and his care, his wife? Maxie and the preparing for the wedding, wanting the huge wedding train, her petulance? The cousin at home, help with the coffins?

8.The various wedding sequences, the rehearsals, the ceremonies, the group and the conduct of the wedding? Photos, dancing, the mass consent? Maxie and the float, her train? The photos at the reception, her dancing with her husband, the gifts, the celebration?

9.Fausta and her introspection, silent, fearful, her nose bleeding, her hesitating? Aida and the interview, employing her? The different works? Her singing, cooking, hair, attending to Aida?

10.The necklace of pearls, their scattering, Aida offering the deal, Fausta and her hesitation, singing, the range of songs and their lyrics? The effect on Aida? The end, the performance, Aida ousting her from the car? Fausta and the handful of pearls?

11.Aida, the attitude of the rich, whims, the mansion, the piano and burning the old one, the new? The performance of the concert, her attitude towards Fausta and dismissing her?

12.Noe, the gardener, Fausta’s initial hesitation with him, discussing matters, Fausta and her fear, walking, alone, the choices, his comment on the flowers? The earth, vegetables and flowers? The end with the daisy in the pot? Her favourite flower?

13.The effect, Fausta and her collapse, the pearls, her undergoing the operation?

14.Taking her mother into the desert, to the sea, her trek with the mother, her fidelity and loyalty?

15.The end with the daisy, the children, hope? Fausta’s future?

NOTORIOUS

US, 2009, 123 minutes, Colour.
Jamal Woolard, Angela Bassett, Derek Luke, Anthony Mackie, Christopher Jordan Wallace, Aunjganue Ellis, Antonique Smith.
Directed by George Tillman Jr.

You need to be a strong rap fan, even familiar with the 1990s history of rap on the US East Coast and the clash with the West Coast and the personalities, Tupac Shakur, and Sean Combs but, especially Chris Wallace who became the Notorious B.I.G., Biggie Smalls Otherwise it is all foreign territory, idiosyncratic music and rhythms, frank and often ugly lyrics which are both streetwise and street foolish.

Though it looks modern with much MTV visual and editing style with a high rap atmosphere, this is really, underneath, an old-fashioned biopic.

It opens with Small's death, uses his voiceover to tell his (short, dead at 24) life, back to Brooklyn, back to his staunch mother (a welcome Angela Bassett), his absent father, his school days and friends as well as ridicule because he was fat. (And in these sequences he is played by Wallace's own son). His adolescent years meant showing he was smart though the butt of teachers, that he dealt drugs and was in police trouble.

It shows his skill at rap lyrics, his growing popularity, concerts, fans, his becoming (literally at the end) too big for his boots. He has tantrums, is promiscuous and neglectful of his daughter.

He is caught up in the East Coast/West Coast contrived row with Tupac Shakur who is also shot to death. Smalls is later wounded but takes a change of musical pace and finds some remorse and peace, as well as a violent death.

The trappings are different and the film has been produced by Sean Combs (who comes out of it smelling like roses) but it is the same story as so many others. Jamal Woolard does a solid impersonation of B.I.G. And, that's it.

1.The niche audience for this film? American? Rap fans? A universal appeal or not?

2.Audience knowledge of Biggie Smalls, of Tupac Shakur, of Sean Combs?

3.The rap music, the origins in the 1980s, Brooklyn streets, the lyrics, the stories, the language? Drugs, violence, sex? Families? The growth of rap? Records, concerts? Popularity? The growth on the east coast? Chris Wallace and his friends? Mark and looking after him, Sean Combs and his business skills, Damion ‘D-Roc’ Butler and their doing the drugs together, deliveries, the issue of going to prison? The support that Chris Wallace received? The role of Tupac Shakur?

4.The framework of his death? The voice-over and his telling his life, the events, self-judgment?

5.The perspective on his mother, looking after him alone, the visit from the father and her ousting him, his nickname and his not liking it, Chris at a young age? Friends, at school, the taunts because he was fat? The father giving him a hundred dollars? His being something of a loner, his mother keeping to herself? Her integrity and hopes?

6.The teenage Chris, on the streets, with D- Roc, the various types in the drug world, dealing, his hiding the drugs under the bed, his mother finding them and her reprimands? The police chase?

7.Continuing to deal, the drugs chase, the arrest of D- Roc and himself, their discussion about who should go to jail, D-Roc? and his wanting to support Chris as a rap artist? His getting out of jail, discovering God, continuing to give Biggie Smalls his support?

8.Chris, Mark and management, his mother’s concern, Sean Combs, the lyrics and Chris’s talent, the performance, the fans, a tough world?

9.Chris and his girlfriend, her pregnancy, the birth of the child, his love for his daughter yet neglecting her? Later? Faith, her singing, the connection between them? The liaison, their fights, his charm and reconciling people? The photo and Tupac?

10.The success, the records, the group, the record of the Big Mac? Tupac and his success? The tours and the concerts? The building up of the east-west clash? Issues of money, the media, the producers? Tupac, the building, the shooting?

11.Chris becoming Biggie Smalls? The notorious B.I.G? Believing his own publicity? His sexual relationships, arrogance, his tantrums, neglect of his family? His mother’s cancer and its effect on him?

12.Going to Los Angeles, the success, bonding, the media questions about Tupac? Las Vegas and Tupac Shakur’s death? Chris under suspicion?

13.Los Angeles, the party, the phone calls, his being shot, hospital, limping?

14.His death, the violence of the rap world, competition between the coasts, the money deals and the producers? His funeral, the crowds, playing his song, his mother being present, the comment on his maturity – and his death at age twenty-four?

15.The popularity of rap and the contribution of these musicians and singers to its development?

LONDON RIVER

France/UK, 2009, 87 minutes, Colour.
Brenda Blethyn, Sotiguie Kouyate, Sami Bouajila, Roschdy Zem.
Directed by Rachid Bouchareb.

Admirers of the fine World War II film about North African troops fighting beside the French, Days of Glory (Indigines), 2006, will be impressed by London River, which could not be more different. Bouchareb won a SIGNIS award for a film which is far more similar, action in both Africa and New York, Little Senegal (2001). London River won an Ecumenical Commendation in Berlin, 2009.

London River is presented very schematically. We are introduced to a farming woman on the island of Guernsey who is an 'on and off Protestant', Elizabeth Sommers (Brenda Blethyn at her best) and an elderly forester from Algeria who works in France and is a devout Muslim. The setting is London, July 7th, 2007, the day the suicide bombers blew up three trains in the Underground and a bus in Tavistock Square.

Ali Ousamane (Sotiqui Kouyate, winner of the Berlinale Best Actor award) comes to England to search for his son on behalf of his wife. He had left them in Algeria fifteen years earlier. Elizabeth Sommers keeps phoning her student daughter who does not answer. She goes to London.

The film shows Ousmane's quiet dignity and Elizabeth's bewilderment at finding her daughter lived in a Muslim section of London. The film brings the two together through police interviews, hospital searches. He receives help from a local mosque. She reacts awkwardly with Ousmane, visits the mosque and discovers her daughter was learning Arabic with Ousmane's son.

The audience realises before they do that the young man and woman are partners.

Whether the two were killed in the blasts or not, the importance of the film is in its inter-cultural drama, different races, different religions, different cultures and traditions, leading, of course, to mutual respect and understanding.

The performances are beautifully restrained with different intensities which cannot but touch audiences.

1.A film for understanding, racial understanding, cross-cultural?

2.The title, the London focus? The question of the river?

3.The Guernsey locations, the cliffs and the farm? The contrast with France, the forest, the forest paths? The musical score?

4.The structured parallels of the screenplay, comparing and contrasting the two characters and their worlds? The coming together of the son and daughter from each of these distinct worlds?

5.The daughter and the son, students, the revelation of their partnership, living, studying, going to the mosque, holidaying together?

6.Elizabeth, her background, the death of her husband in the Falklands war, her love for her daughter, her anxiety, the phone messages, going to London, discussions with her brother and looking after the farm? The address, her puzzle, the Muslim background, Arabic language, the shopkeeper and his kindness, pointing out the flat? Going to the police, registering a missing person, the police not able to do much? The visits to the hospitals? Her copying the photo of Jane, displaying it? The phone calls? The encounter with Mr Ousmane? Her shock, the fact that he knew something of her daughter? Her speaking French? Her reaction, phoning the police, suspicions? The beginning of some mellowing? Going to the mosque, discovering her daughter was having Arabic lessons with the young man? Going to the market, seeing Mr Ousmane? Their going to the morgue to identify the bodies? Beginning to talk, her apology? Her taking in Mr Ousmane? The shared house, the travel? The travel agent? The shock and grief of what had happened? The farewell to Mr Ousmane? Her return home, a changed woman, talking with Edward? Going to the cliff, contemplation, hoeing in the garden, life continuing? The important experience for her and the transformation?

7.Mr Ousmane, his age, dignity? His leaving Algeria fifteen years earlier, leaving his son aged six, leaving his wife? His work as a forester in France? Preserving the elms? His goal to find his son, boarding at the hotel, the encounter with the police, with Elizabeth? His dignity and her hostility? The visits to the hospital, the visits to the mosque? The imam and the information? The photo, the police, the morgue, the market? Her beginning to understand, her apology to Mr Ousmane? Going to the travel agent? Moving in? The different reactions to their children’s death, Elizabeth’s silence, Mr Ousmane singing? His return to France, the forests, the elms? Symbols of death and life in the forest?

8.In England, the variety of people, multicultural, Muslim, their appearance, the streets and shops, the buses, the police, the interviewer, the woman at the mosque, the imam, the shopkeeper?

9.The seventh of July, 2005, the inclusion of TV footage, the information about the bombers, the underground, Tavistock Square and the bus, the survivors? The visuals? Audiences reconstructing what happened? Mr Ousmane’s fear about his son? Elizabeth and her not thinking Jane would have been the victim?

10.The 21st century and bombings, in London, people’s response, British style?

11.The film as topical, reflective, a message against xenophobia, a message of hope, going beyond prejudices and cultural differences? The issue of religion, Elizabeth as an on and off Protestant, Mr Ousmane? as a devout Muslim? The dialogue between Christians and Muslims?

CHERI

UK, 2009, 100 minutes, Colour.
Michelle Pfeiffer, Kathy Bates, Rupert Friend, Felicity Jones, Frances Tomolty, Anita Pallenberg, Harriett Walter, Iben Hjejle.
Directed by Stephen Freers.

Sumptuous to look at, the beginning of the 20th century and La Belle Epoque in France, beautifully melancholic score by Alexander Desplats, articulate dialogue from Christopher Hampton, adapting a novel by Colette, and directed by Stephen Frears, who could ask for anything more? Well, we could.

So much cinematic effort put into a not dangerous liaisons plot but frivolous liaisons, the affairs of the narcissistic, seductive extortions of so much money from decadent playboys, the world of the glamorous French courtesans.

Maybe that is a touch puritanical, maybe more than a touch, but to spend time with these characters seems something of a waste.

Cheri is a welcome star vehicle for Michelle Pfeiffer (who starred 20 years earlier in Frears' Dangerous Liaisons) who brings beauty and vivacity to her role of the ageing courtesan, Lea, although she seems too nice to be as mercenary as the plot wants her to be. On the other hand, Kathy Bates does her typical good stuff and is more credible as the prostitute mother of Cheri, a nickname for her son, Fred, a pampered, effete young man who finds true love with Leah but who has to enter an arranged marriage. As Cheri, Rupert Friend (so much better as Prince Albert in The Young Victoria) seems, as Ronald Searle used to write, 'a wet and a weed', something of an aspiring Rupert Everett but not nearly as effective. He seems to be reciting many of his lines, especially in the final encounter with Lea, rather than acting.

And Frears borrows from himself (self-referential) with an ending where Michelle Pfeiffer (as Glenn Close did before her) gazes into a mirror.

There seems very little redemption for these characters – at least, in this life, though Lea's speech suggests something. But the final voiceover, spoken throughout the film by Frears himself, is simply despairing.

1.A sumptuous-looking film? La Belle Epoch? Manners, morals – and an amoral world?

2.The work of Collette, memoirs, the French perspective, the moral assumptions about La Belle Epoch and courtesans?

3.The beginning of the 20th century, before World War One, costumes, lavish décor, homes, cars, the city of Paris, the countryside, the coast? The musical score?

4.The credits and the visuals of the courtesans’ world, the individuals, their photos, careers, sexuality, mercenary achievement, lives of luxury, yet time passing, age and illness, death?

5.The voice-over by Stephen Freers, its tone, narrating the story, passing judgment on the characters and situations?

6.The title, the focus on Cheri, his real name being Fred? His age, the background with his mother, the woman’s perspective on the young male?

7.Leah, Michelle Pfeiffer, her age and beauty, Leah’s career, wealth? Rose as her confidante? Her needs, her meeting with Madame Peloux, their talk, knowing Cheri since he was a boy, listening to his mother, his mother wanting her help, the set-up? Her seductive manner, her charm, his response, their beginning to live together, sharing everything, six years? The love for each, the life and style, the ordinary background, the bickering? Going to the sea? Seen in Paris?

8.Cheri, the description, his age as a young man, his negligent relationship with his mother, despising her, his quips? His growing up in debauchery, an effete manner, world-weary in his outlook, the liaison with Leah, the years and its effect on him?

9.Madame Peloux, her own career, wealthy but on the outskirts of society? The arranged marriage, announcing it to Leah, Leah’s upset at not hearing it from Cheri? The courtesan and her daughter? Mercenary, arranging the wedding, rushing away? The church ceremony, the exchange of rings? The honeymoon, the travel, the hotel? Edme and her mother, her response to Fred? Preferring to call him Fred? Talking, trying to understand the place of Leah, trying to understand his questions?

10.Leah and the aftermath, looking for someone else, the boxer, the relationship? Her buying the emerald ring and pretending it was from someone else? Her talking things over with Rose, Rose’s response, a pampered life? Her aims in life, especially as she grew older?

11.Fred, the marriage, his disappearance and return, visiting Leah, relationship with her, her love?

12.Leah’s final speech, a perspective and amoral tone, her relationship impeding his maturity, his not growing up?

13.Fred, his response to her speech, the effect on him, leaving, walking up the street, not turning back?

14.The voice-over commentary about World War One, his understanding himself as he fought in the war, experienced death, killing himself? The nihilistic perspective at the end?

15.A moral and amoral world – fascinating for the audience, but an immersion in a beautiful and elegant world of decadence?

MY ONE AND ONLY

US, 2009, 106 minutes, Colour.
Renee Zellweger, Logan Luhrmann, Mark Rendle, Kevin Bacon, Nick Stahl, David Kirschner, Eric Mc Cormack, Chris Noth, Stephen Weber, Troy Gerrity, Robin Weigert.
Directed by Richard Loncrane.

An entertaining comedy-drama about actor George Hamilton (pictured) when he was 15? Not likely. But, in fact, here it is. A memoir which, when he recounts it to his class about what he did over the summer vacation, his teacher remarks, 'Surely, exaggerated'. He replies, 'if only...'.

According to this tale, Hamilton's father was band leader, Danny Devereaux, who was a one hit wonder with his song, 'My One and Only' (composed for this film). His mother, Ann, was a 'princess' type who did not know what work was, who glided through life and two marriages constantly repeating 'it will all work out for the best'. Tired of her husband's infidelities, she decides to fend for herself and teenage sons – by looking for a wealthy husband to support them! As they say, she certainly knows how to pick them! There is a broke businessman who wants to borrow from her, a bullying anti -Communist military man, an old flame who is a playboy, a rich man who assumes she is available for sex, a gentle salesman who is certifiable!

The family moves from New York to Boston to Pittsburgh (where she is wrongly arrested in a hotel bar for soliciting), to St Louis and her plain and exasperated sister's house, to LA and the movies.

Renee Zellwegger turns on her charm and glamour for this flibbertygibbet wife and hopeless mother. Kevin Bacon has a cameo as her husband.

The film also depends on Logan Lerman as the serious young George who sees through his mother, realises he must also see through his father and who, by accident, helping his would-be, crocheting brother (Mark Rendall) for his screen test, begins his own film career.

A strong cast of men pass through Ann's life: Steven Weber, Chris Noth, Eric Mc Cormack, David Koecher, Troy Garrity (as a hitchhiker) and Nick Stahl as a sympathetic shy mechanic in Pittsburgh.

The now over-tanned George Hamilton did not turn out quite as serious as the young George in this film - though he executive produced this film. A commendation from the Ecumenical Jury in Berlin, 2009.

1.An entertaining piece of Americana? A 1950s American road movie? In retrospect?

2.George Hamilton, his career, his memoir, enhanced? Executive producer? A pre-Hollywood story?

3.The credits, the advertisements, the fashions, the attitudes and visuals of the 1950s? Television and commercials? The movies? Nuclear fears, anticommunism, the threats? The visuals of the Nevada nuclear tests?

4.The music, the band, My One and Only? The score?

5.George and his voice-over, his description of his mother, of his attitudes, of his father? His relationship with Robbie? His behaviour? Himself and his self-image, strong, his writing, hopes? New York as his home? Yet wanting the bond of family, St Louis, going to California, accidentally getting a film career?

6.Buying the car, telling the story for the salesman, the money, their suspicions, driving, his mother and the rear-view mirror, later to be used for herself and not looking back? His erratic driving?

7.Ann, at home, her arriving early, her husband not expecting her, calling the woman a tramp? The argument, her decision to leave? The background of her two marriages? Robbie and his father? George and his father?

8.Driving to Boston, the aim, the friend and his being a wealthy businessman, the meal, his asking her for money, her tears, being robbed? Harlan and his stepping in for her, paying the bill, the military courtesy? Their going out, his attitude towards the two boys, the military style? The plan for marriage? The five hundred dollars, their persuading their mother to give it to the orphans? His demanding the money back? The necklace? George and hitting? Their leaving, going to Pittsburgh?

9.The outing, the hopes for the man escorting her, his expectations for sex from her, her leaving?

10.Charlie, the old times, wealth, the party, her going on the date, waiting in the hotel, the young women with Charlie, her talking to the man at the bar, his being a detective, her going to prison, the other prisoners? Her phoning Dan? His not answering his phone, the girl at the other end? Her reliance on Bud and his taking her home? His admiration for her?

11.The house in Pittsburgh, George and his talking to the girl, Bud as her brother? Going to the drive-in, seeing The Big Heat, the girl’s question about her breasts, George and his advice to her? Successful? Bud, not talking much, helping with the car? His helping them to leave? Dan talking to Bud and finding out where the family went?

12.St Louis, Hope and Tom, Ann and her not getting on well with Hope? The tension, arriving, wanting the meal? Her plan? Hope’s sardonic remarks? Tom as more friendly? Ann getting the job, working at the diner, the flirting, pouring the hot coffee on the customer? In the shop, the woman and the inquiries about the paint, her advice, the arrival of Bill Massey, their conversations about paint and colours? His charm, the plan to marry? The boys liking him? The picnic, the arrival of his wife, his words of advice to George about the temperature of women? The fiasco of his mental state? The sympathy of the wife, Ann’s dismay? The large cheque?

13.George at school, the teacher encouraging him, deciding to stay, confronting his mother, her slapping him? Robbie and the phone calls from the trip? The need for money, Tom urging Hope to give the money from the cheque? George’s decision to join the family?

14.Robbie in himself, his prissy manner, crocheting? Camp style? The crocheting of the the towns in the doyley? His leading roles in school – and never getting to perform them? His gauche comments about Othello and the negro? Coming on stage to perform Oedipus – Bill and Ann watching, the tornado and everybody having to leave the hall?

15.Ann and Robbie on the road, the various lifts? The cash? The soldier and his girlfriend, the lift, the robbery? Robbie and his father’s gun? The girl leaving – but joining up with the soldier later?

16.Arriving in Los Angeles, settling down, Dan and his visit, his trying to talk to Ann, his relationship with his children, seeing himself as a poor father? The news of his death? George and his decision to go to New York? Telling his story of the summer vacation in class – to disbelief?

17.Robbie, the screen test, Ann and Robbie as extras? George arriving, Robbie hopeless at acting, George giving him advice, performing, the sympathetic producer, giving him the job? Robbie and his costume designing?

18.An eccentric comedy, but joyful?

DEUTSCHLAND 09

Germany, 2009, 140 minutes, Colour.
Thirteen directors.

Of course, it is impossible to offer a definitive film on contemporary Germany. With the 2008 credit crash developed while the film was in post-production, it was finished at the end of the Bush era and the beginning of the presidency of Obama.

However, an interim report is always useful – and that is what the film does. 13 different directors have contributed their own idiosyncratic viewpoints and visual visions that are never less than stimulating. Some make us laugh and it is a nice and surprising reminder how laughter enables learning. Some are ironic, sometimes stating the obvious but offering back-up images that have their own value. Some are didactic, serious in terms of German heritage and democracy. A couple are frightening, especially in the current era of terror.

Everybody's favourite is probably Joshua where Jewish director, Dani Levy interviews a number of morose Germans in the street and then goes to a psychiatrist (humorous dialogue here) who gives a prescription that will turn the world optimistic. This leads to funny scenes of unexpected courtesy, dancing in the streets, drivers polite after a crash. Then the director's little son, Joshua, takes flight. Security guards frisk Joshua when he lands in the middle of a board meeting. He then flies into a group of Neo-Nazis? who hail the child as the new Fuehrer. Cleverly absurd and funny.

Another funny story focuses on the German pornographic culture, an interview with the Persian migrant proprietor of the Bar Onyx, a sleazy club in a dark street. The proprietor salutes the German people for allowing him to stay in the country. The behaviour he describes is disgusting. The Iranian plays it straight which ironically highlights realities and society double standards.

On the war on terror theme, Fateh Akin offers re-enactment of an interview with a Turk released from Guantanomo. A story of the arrest of an innocent lecturer as part of a terror prevention plan by authorities is alarming, as is the detail of the amount of surveillance. The health system, standing as a symbol of the ailing economic system, is treated as a farce in 'Sick House'. Tom Tykwer makes his comment on globalisation and commerce and travel fatigue where the images of the same hotels, shops, and Starbucks everywhere in the world make plenty of points.

This is a film which, of course, could be re-made every year. And, it raises the interesting thought: what would such a film be like were it made in any other country you would like to name.

1.The quality of the portmanteau film? The variety of directors and their reputation?

2.The image of 21st century Germany, the facts, attitudes, critique, the areas of concern: surveillance by government authorities, the loss of heritage, democracy, family, children, neo-Nazis, health and the economy, globetrotting and globalisation?

3.The short running time of each film and their effectiveness?

4.The First Day.
Directed by Angela Schanelec.
Ten frames, the city, people getting up, a kitchen, a phone call, the hospital, buses, cars, trains in the distance? Framed shots? The musical score? The impression of Germany?

5.Joshua.
Directed by Dani Levy.
Levy and the range of interviews, those against Germany, those who were ignorant, memories of World War Two and defeat, Germany as super? Levy and his going to the psychiatrist, the psychiatrist jokes, the Jewish background? The prescription? Levy taking it, the change in optimism in the street, people greeting one another, dancing in the street, politeness after the car crash? Joshua and playing, all the parents with the swings? Joshua wanting to fly, his father pursuing him, crash-landing in the boardroom, the security guards coming, the arrest, Joshua and his father in jail, Joshua flying to the neo-Nazis, their singing, young people, seeing him as a saviour? The ironies? The range of jokes – and the cab driver reading Salman Rushdie?

6.Democratic Conversation.
Directed by Isabelle Stever.
The children, the talk, the teacher, Marco and his not wanting to play dodge ball, the discussions, the various points of view, the solutions, the votes, the factions? The children and the image of democracy?

7.Fraktur.
Josef Bierbichler.
Directed by Hans Steinbichler.
The newspaper, the new layout, Frankfurt and its newspapers, the tradition, the photo, the owner being upset, his coffee, spilling it, the phone calls, his range of trucks, his buying all the papers at the kiosk, getting all the truckies to buy the papers, collect them, his passing the truck and trying to talk to the driver, the gathering of all the papers and burning them? His going to the meeting, forty-two years of the paper, his anticommunist stance about the photo, the gun, the shooting? The new picture on the cover – and the owner’s back?

8.Schieflage.
Directed by Sylke Enders.
The discussion about protest, the lecture on gentrification of the city? The sudden arrest at home? The family reaction? The interrogation of the lecturer? His bewilderment? The lawyer and mass surveillance? The authorities, the idea for prevention of terrorism? Judging the operation a success? The man, his wife and her questions, weeping? The final information about surveillance and terrorism?

9.Murat Kurnaz.
Directed by Fatih Akin.
The background of Guantanamo Bay, the re-enactment of the interview, the background of terrorism, the arrest of Kurnaz? His book? Turkish background, born in Germany? Torture? His criticisms of the German officials, the government not helping, his unwillingness to forgive? His survival, the reaction of his parents? The rights of a German citizen?

10.Der Weg.
Directed by Dominik Graf.
The architectural heritage of the city, the visuals of the city, the themes of the past, the inheritance, the changing styles, modernisation? For and against?

11.Sick House.
Directed by Wolfgang Becker.
The satire, health as an image of the economy, the range of patients, the doctors and nurses, the surgery, the intern? Searching for the doctor playing golf? The operation and laughter? The language of the economy? The doctor and nurse, the interviewees, the fat man? The television panel, the argument? Searching the basement for the doctor? The effectiveness of this kind of satire?

12.Séance.
Directed by Kristoff Hockhausler.
The German colony on the moon, the lost culture, the science fiction atmosphere, the social comment?

13.Global Travel.
Benno Furmann, Eva Habermann.
Directed by Tom Tikwer.
The executive, the detail of his life, suitcases, the taxis, working on the computer everywhere, his tickets, the airports, the plane, the flight attendant and her courtesy, meeting people and his being met at the airport, the meetings and the discussions, the global shops, his continual refuge in Starbuck’s, staying at the Marriott, taking all the toiletries, the television and the pornographic films? His going home – and the image of his wife?

14.Rameses.
Directed by Romuald Karmakar.
The interview with the Iranian, German ordinary life, polite? The dark side of society? The men and their being directed to the gay bar? The photos in the club, the old man and his experience, sitting on the sofa, his elaboration of disgusting behaviour, his wanting to go back to Persia, his saluting the Germans for giving him the opportunity to make his living?

15.The Soup Kitchen.
Directed by Hans Weingartner.
The rich family, the petulant children, the birthday party, the moodiness of the child and the donkey ride? The contrast with the soup kitchen, the mother, the young boy and his plight, getting the food for home? The character of the cook, his helping out, the discussions? A comment on the rich and poor?

16.Die Unvollendete.
directed by Nicolette Krebitz.
The girl, her age, the discussions about the soul? Susan Sonntag appearing, Ulrike Meinhoff? The arguments, the discussion, the dance? The feminist perspective for Germany in the 21st century?

17.The overall effect and cumulative impact of these stories? Transition stories – a sequel could be made the following year?

THE SHRINK IS IN

US, 2001, 87 minutes, Colour.
Courteney Cox, David Arquette, David James Elliott, Carol Kane, Kimberley Davies, Viola Davis, Jon Polito.
Directed by Richard Benjamin.

The Shrink Is In is a star vehicle for Courteney Cox after her long years on Friends. She co-stars with her husband, David Arquette.

The film was not well received and in many countries went straight to video or television. However, it is a kind of screwball comedy with Courteney Cox doing a variation on her Friends, Monica’s character. She is obsessive but finds herself having a breakdown – and, after her shrink (Carol Kane) has a breakdown, she is mistaken for the therapist. She gets entangled with her next-door neighbour, David James Elliott, manipulating him for her own concerns. However, an oddball character, Henry (David Arquette) keeps coming into her life and she finds herself relying more and more on him. Viola Davis plays a sympathetic friend. Jon Polito is a suicidal judge whom she and Henry are able to save.

Courteney Cox obviously enjoys herself in this role, has some good comic timing even if she is too often frantic. David Arquette, on the contrary, is rather laidback.

The film is full of sentiment, full of aphorisms which are wise about people and their problems and communicating with their psychiatrist.

1.A 21st century screwball comedy? Characters, situations, counselling and therapy? The mysterious millionaire?

2.Los Angeles, apartments, offices, hospitals? Authentic atmosphere? Musical score?

3.The title, expectations, the tone? Doctor Rosenberg? Samantha taking her place?

4.The focus on Samantha, Courteney Cox’s presence? Dictating the way to the airport, her boyfriend leaving her? On the plane, her breakdown, getting off, in court, the collage, doing community service? Going to see Doctor Rosenberg? The discussions? Her friendship with Robin? Her not being able to travel, writing the articles without going to the countries? Her later exposure, her photographer, her being sacked? Her overhearing Michael and Isabelle, her curiosity? Going to see Doctor Rosenberg, her breakdown, helping her, Henry seeing her and mistaking her for Doctor Rosenberg? His return, his giving the magazines? Michael coming, her therapy, her suggestions, wise and his taking them seriously? Her listening in? The sexual encounter and its repercussions? Henry and his friendship? His counselling her? The situation with the judge on the ledge, her technique, going out, saving him, falling? Her becoming more and more involved? The build-up to the showdown, Michael, Isabelle coming to the office, Henry and his disillusionment? Her insulting Robin? Her arrest, her liking getting the sympathetic judge, her community service, her going back to see Doctor Rosenberg? Her visits to Doctor Rosenberg in the institution? Her motivation for keeping pretending?

5.Doctor Rosenberg, sympathetic, her breakdown, in the institution, her hallucinations, her advice to Samantha?

6.Michael, listening in to him, his relationship with Isabelle? Not able to sleep, talking with Samantha? Going for therapy, his listening to her words, repeating them, believing them, saying them to Isabelle? His being caught by Isabelle?

7.Henry, his singing in the lift, his appearance, hair, way of speaking? Singing? With the magazines? The gradual revelation that he was doing this for someone in an institution? His fascination with Samantha, unable to tell her that he loved her? His visits, the therapy, her dependence on him? The ledge, saving the judge? His bringing flowers, Michael telling Samantha how smitten Henry was? His disillusionment? The card from Belize, Samantha’s going and seeing him leave?

8.Robin, her friendship, good advice, her being insulted? Her knowing what was going on? Her going to therapy with her husband?

9.The judge, three weeks married, on the ledge, persuaded to come off? The irony of his hearing Samantha’s case?

10.Samantha, going to Belize, seeing Henry, the return, going to his office with her luggage, the revelation that he was a millionaire? The truth about him? His friend sending the card? The happy ending?

11.The wedding, the celebration and everybody happy?

ANNE OF GREEN GABLES

US, 1934, 78 minutes, Black and white.
Anne Shirley, Tom Brown, O.P. Heggie, Helen Westley, Sara Haden.
Directed by George Nichols Jr.

Anne of Green Gables is the first screen version of the very popular novel by L.M. Montgomery (Lucy Maud Montgomery). The film stars Anne Shirley who took the name of her character as her stage name at this time. She appeared in the sequel, Anne of Windy Poplars (1940). She also received an Oscar nomination for her role in Stella Dallas.

Australian-born O.P. Heggie is very sympathetic as Matthew Cuthbert and Helen Westley, always very strong-minded in her films (Show Boat) is his sister Marilla. Sara Haden who was to appear as Andy Hardy’s aunt in the series is the neighbour, Mrs Barry.

The film is set in Prince Edward Island, Canada, and is the story of an orphan who was adopted by a brother and sister who were expecting a boy. Despite Anne’s vigorous imagination, bad temper, non-stop talking, she eventually charms everyone, especially the local schoolboy who initially antagonises her, Gilbert Blythe, whom she will eventually marry.

The film is brief, moves over some of the years of Anne’s growing up very, very rapidly.

The story was so popular that it was a miniseries in 1985, capturing audiences all over the world. There was a 1987 sequel as well as one in 2000, all starring Megan Follows. Richard Farnsworth and Colleen Dewhurst were the brother and sister. There was another sequel in 2000 and a planned sequel for 2009 with Barbara Hershey as the older Anne, co-starring with Shirley MacLaine?.

There have been several animated series including one from Japan.

The story is popular, the film shows something of its age but has quite a charm from the strength of the performances and must have given some rivalry to Shirley Temple vehicles at the time.

1.The popularity of the novel, the film and television versions? The nature of the appeal? The character of Anne, the orphan, her strength of character, Marilla and Matthew?

2.The black and white photography, the style of the 1930s? The musical score?

3.The focus on Matthew and Marilla, Matthew being disappointed in love, Marilla and her hard attitude towards life? Their expectations of a boy? The discussions with Mrs Barry? Matthew and his going to the station, discovering a girl? His silence, his good nature, his wisdom? No imagination – nor Marilla having imagination? Their upset at Anne? Taking her back? Marilla, her severity, with the mother with all the children, with the head of the organisation for placing orphans? Her decision to take Anne home?

4.Anne, her age, her parents dying, the orphan, looking after children? Her imagination, her continually talking? Her wishing she had the name Cordelia, different coloured hair, not so thin …? Her imposing herself on Matthew, talking during the journey, renaming the house Green Gables? The confrontation with Marilla? Her outspokenness? Her plea not to be left with the mother and children?

5.Meeting Mrs Barry, Mrs Barry’s comments about thinness and red hair, her losing her temper? Matthew persuading her to apologise, her profound apology? The motivations? Meeting Diana, friends? Going to school, talking non-stop to the teacher? Gilbert Blythe and his comment, her breaking the slate over his head? The reaction of Matthew and Marilla?

6.Her life with the couple, good at housework, clever at school? The years passing? Matthew and Marilla growing fond of her?

7.The relationship with Gilbert Blythe, the hayride, his insulting her? His overhearing her comments? Their gradually talking, her haughty attitude? In the boat, his rescuing her from the tree limb? Her change of heart? Sweetheart, the years passing? The story of Matthew’s frustrated love? Marilla’s severity and banishing him?

8.Anne, growing older, her exams? Doing well? The incident of the amethyst brooch and her making up the story?

9.Her going away to college, her studies, the years passing, no contact with Gilbert? His studying to be a doctor?

10.Diana, her marriage, visiting Anne, telling her about Matthew’s illness, Anne coming home, going to get Gilbert and the doctor? Matthew’s being well cared for? The reconciliation with Gilbert? With Marilla?

11.Popular story, audiences identifying with Anne? Parents with Matthew and Marilla? The continuing popularity with sequels?

KUFFS

US, 1992, 102 minutes, Colour.
Christian Slater, Milla Jovovich, Leon Rippy, Ashley Judd, Bruce Boxleitner, Tony Goldwyn, George De La Pena.
Directed by Bruce A. Evans.

Kuffs is an amusing variation on the Lethal Weapon kind of story. It is serious but also comic – with Christian Slater as George Kuffs talking to the audience and inviting them into his story. Slater, who plays this kind of role very easily as in Pump Up the Volume or Heathers, is a reckless young man who wants to escape responsibility by going to Brazil. However, his brother (Bruce Boxleitner) is killed and the young man has to take over his special force, the Forty-Niners?, the patrols who police the streets of San Francisco.

Milla Jovovich appears as the girlfriend. Ashley Judd has a small role. Ballet dancer George De La Pena is a villain. Tony Goldwyn, who had been the treacherous friend in Ghosts, is the policeman who has to babysit Slater.

The film was written and directed by Bruce A. Evans, a Hollywood writer whose only other film was Mr Brooks with Kevin Costner, Demi Moore and William Hurt (2007).

1.An entertaining film? The blend of the serious and the spoof? Younger characters, younger audiences? Law and order, society, violence and guns?

2.The city of San Francisco, the streets, the homes, churches …?

3.The title, the focus on George? Christian Slater and his screen presence? Addressing the audience, taking the audience into his confidence? The tone, the comedy?

4.The introduction, George, Maya and her pregnancy, issues of responsibility, the note, the phone call? The brother and his work? Robert, care? The hospital? The parents and the jokes? The baby? George’s life?

5.George in his family, his relationship with Brad, his style, at high school, the birthday? The turkey? The church, his brother dying? His wanting to borrow money from him to go to Brazil? Issues of revenge? Identifying the criminals? The role of the law? His being taunted? Justice?

6.The districts and the system for policing them? Brad and his work? Sam Jones? Bill? The decisions, the head and the staff, their reactions to Kuffs?

7.The training, running, the guns, Ted – drugged? Kane as a villain, following him, the robbery, Jumper, being shot?

8.The variety of people, the fights?

9.Kane, sleazy, violence, the murder of Brad, the church, the girls, the bribe, his death?

10.Jones, buying, the railway system, the car, the confrontation, the roof? The lift? Death?

11.Ted, suspending? His wife? Helping? The explosion?

12.George, in action, his type, experience, surveillance, at home, the shootings? The arrest, the escape, the laundry and the dog? The roof?

13.The variation on the police patrol film? The comic elements? The serious underlying tone?