OVER THE TOP

US, 1987, 93 minutes, Colour.
Sylvester Stallone, Robert Loggia, Susan Blakely, David Mendenhall.
Directed by Menahem Golan.

Over the Top is a star vehicle for Sylvester Stallone at the time that he was making Rambo films as well as sequels to Rocky. The film focuses on a Rocky kind of story set in the world of arm-wrestling with a gala competition in Las Vegas.

While the film focuses on the athletic side of Stallone’s screen presence, he also portrays a truckie who left his wife and child many years earlier. One of the reasons is the pressure from his wealthy father-in-law who despises him. Robert Loggia is the father-in-law. However, his wife is to undergo surgery and she wants her son, David Mendenhall, to bond with his father.

The film goes along expected lines, the young boy graduating from military college and clashing with his father, coming to admire and understand him, the pressures of the father-in-law, the death of the mother, the confrontation and finally the victory in Las Vegas.

The film was directed by Menahem Golan who, with Yoram Globus, bought Cannon Films and produced a great number of popular dramas and thrillers during the 70s and 80s.

1.A Sylvester Stallone film? His screen presence? The background of Rocky, Rambo?

2.The title, the reference to arm-wrestling?

3.The locations, the open highways of America, the pit-stops? Las Vegas? Wealthy homes and mansions? The musical score? The concluding song?

4.The introduction to Lincoln Hawk, as a truck driver, his age, background, his walking out on his wife and son? The pressures from his father-in-law? His wife asking him to pick up their son at his graduation? The initial clash, his son disowning him? The travel, the lack of conversation, his son’s surliness? Taking him to the diner? The arm-wrestling and the challengers? His building up his son, his son and the competition, telling him to go back in? The phone calls to Christina? His love for Christina? His regrets about his mistakes? Arrival at the hospital, the grandfather taking Michael away? His anger? Coming to the mansion, driving through the gate? His son coming to visit him in prison, the decision to stay with his grandfather? Going to Las Vegas, the competition, the various rounds, his being defeated? Michael coming, encouraging him? The confrontation with Jason Cutler? His final victory supported by his son? The happy ending?

5.Michael, age, without his father, love for his mother, pampered by his grandfather? His surliness, ignoring his father, wanting to run away? The gradual breaking down of barriers, the bonding, the arm-wrestling competition and his father urging him to go back, the world not meeting him halfway? His mother’s death and his grief, leaving Hawk? With his grandfather, watching his father’s confrontation? The visit in prison? His running away after finding his father’s letters? Las Vegas, his ingenuity on the plane, at the casino, encouraging his father, the happy ending?

6.Jason Cutler, the stereotypical businessman, wealth, possessiveness, his daughter’s dying, wanting his grandson? His henchmen, the strongarm tactics? The confrontation in Las Vegas?

7.Christina, the marriage, her love for her husband, her son, wanting them to bond, her death?

8.The world of truckies, the stops, the diners, the appearance of the truckies, tough, arm-wrestling?

9.The world of competition, Las Vegas, the glitz, the bouts, the final confrontation?

10.A blend of muscular sports film with family, absent fathers, bonding with sons?

SOMERS TOWN

UK, 2008, 75 minutes, Black and white/Colour.
Piotr Jagiello, Thomas Turgoose, Elisa Lasowski, Ireneusz Czop, Kate Dickie, Perry Benson.
Directed by Shane Meadows.

This is a brief story of two teenagers who become friends in the King’s Cross area of London, Somers Town.

It was directed by Shane Meadows who has become something of a British favourite with his glimpses into life in the Midlands (24/7, A Room for Romeo Brass, This is England). This time, he is trying out filming in London, atmospheric black and white photography (with some grainy colour at the end for a trip to Paris – on the Eurostar (who invested in the film) out of the newly built and opened St Pancras station near King’s Cross which has become the Eurostar station).

The screenplay is also topical, not just the detail of living in this area of London (where the boy from Nottingham can be mugged and robbed in the streets), but with the building sites around the station, the flats and the shops selling goods that have fallen off the back of a truck, but in the presentation of migrant workers from Poland, their labour, their struggles with the language, their loneliness.

This is particularly true for the introspective Marek, a teenager who has come with his father, misses his mother (wishing she could come to London for weekends), spends a lot of time with his camera, snapping the sympathetic French waitress at a local café. Tomo (Thomas Turgoose from This is England) has come from Nottingham with no prospects and no desire to return home. He is befriended on the train by a woman who helps him out with a sandwich and some cash after the mugging. At the café he meets Marek, messes around with him and takes his photos. But, they become friends, Marek hiding Tomo at home, meeting with Marie, the waitress, encountering Graham and his dodgy goods and doing some work for him and falling foul of Marek’s father after a bout of drinking and raucous music and letting their hair down.

Life wasn’t meant to be easy is one of the messages of this film but there is a warmth of feeling in this tale of two very different boys meeting and becoming friends. Apart from the immediate trip to Paris, who knows how far this friendship will lead to?

1.The acclaim for the film? A brief slice of life? The London focus, Somers Town itself? The local flavour? Universal appeal?

2.The black and white photography, the locations, streets, buildings, building sites, St Pancras station? Authentic? The atmospheric score and songs? The colour sequences in Paris at the end?

3.The title, the focus, London, the King’s Cross area, its life and style, the range of migrants, the Poles, the building of St Pancras station, the working class, flats, cafes, the sellers of stolen goods?

4.The Poles and immigration to the UK from Poland, especially after Poland joining the European Union? The work, homes, language issues, hopes?

5.Marek and his father? Coming to London, the mother left behind, wanting her to come for weekends? The scene of them cooking at home, peeling the vegetables, the onions? Their talk, discussions about swear words? At the table, the meal, reading the letters and the innuendo about sexual behaviour? The father going out, his friends, drinking? Passing Graham and not talking? Graham and Marek’s return, the discussions about the Manchester United T-shirt, getting the illegal Arsenal T-shirt? Getting Marek to help him with his work? Marek, introspective, photography, his infatuation with Maria and all her photos? His age?

6.The contrast with Tomo, on the train from Nottingham, starting to talk to Jane? His friendliness? Arriving in London, no home to go back to, Jane and her help? Going to sleep, on the streets, the three boys mugging him, robbing him? Going to Jane, the café, her help with the money, a listening ear?

7.His interest in Marek, in the shop, the photos, messing around, the owner and his comments? Maria and her work there, the photos? Walking with Marek, the discussions, the bond between the two? Tomo and his story? Marek being able to confide in him? But wanting to keep him from his father? The meeting with Graham, the discussions about sandpapering the deckchairs, the money, the chairs and nobody turning up? At home, happy? The laundry, taking the clothes, trying to sell them to Graham?

8.Tomo and Marek at home, concealing Tomo from his father? Tomo and his wanting the toilet, in the bathroom and his behaviour? Their buying all the food, getting drunk, the music, fooling around?

9.The father, his anger, Marek accusing him of drinking? Marek sleeping, his father watching over him, the apology, their talk about missing his mother?

10.Tomo, his going to Graham’s, the proposition about helping him with the work?

11.Maria, French, working at the café, the photos, in the chair, going out, the exhilaration, her liking the two boys equally? Their doting on her?

12.The decision to get the ticket to Paris, the mood, the Eurostar trip? The details of enjoying the visit to Paris?

13.A glimpse of English life, London life, the changes in 21st century London?

VEXILLE

Japan, 2007, 109 minutes, Colour.
Directed by Fumihiko Sori.

While the Japanese studios have been developing Anime and Manga animated action films (a counterbalance in animation film content and style from Hollywood and the US), they have tended to be seen by fans of the genres rather than the general public. However, as the years have gone on, more and more of these films have become more readily available and there is a huge market for the DVDs.

The films tend to take up science fiction and science fantasy themes. This is the case with Vexille, which focuses attention on the heroine (and away from Leon, the hero, who should get equal time). However, the original title was Japan Isolation, 2077.

Japan has cut itself from the rest of the world in the 21st century (as it did in the 17th and 18th centuries). But, one of the consequences of this narrowing of horizons is that a corporation has been able to take over human beings and turn them into androids and is pursuing the production of slave-robots. The United Nations has condemned this action.

When two American agents, Leon and Vexille, arrive at a meeting for international representatives, they become involved in confronting the company authorities and do battle, with the help of some fantasy creatures, to stop the process. This being Japan, with its propensity for despair and suicide, is not easy as the populace seems to be determined to go to its doom.

Fans have not been disappointed with this film but, for those not accustomed to style and stories, it is an acquired taste.

1.The popularity of animated Japanese films? The Anime style? The Manga style? Science fiction, science fantasy? For Japanese audiences? For non-Japanese audiences? This film geared for the United States?

2.Comment on the visual style, the basic drawing, the characters, action sequences, the backgrounds and environment, the creatures? The musical score?

3.The title, the original Japanese title meaning Isolation, 2077? The background of Japan and its isolationist past? Japan as an enclosed society? The humans becoming victims, the creation of androids, the formation of robots? The global companies? The pessimism? The judgment of the United Nations? Suicide and the annihilation of the people?

4.The situation: the meeting, the company, Saito and his running the company, Kisaragi and his intentions? The Americans and their visit? The attitude? The United Nations and its condemnation? The build-up to chaos and deaths?

5.Leon as hero, American background, relationship with Vexille, the heroics? The appearance and the style of drawings? Going to Japan, Leon and his past, the relationship with Maria? Vexille and her shock about the new Japan? The androids? The homes, the markets?

6.Kisaragi and his goals, Saito and his promises? The processes for making androids, to become robot slaves? The delegates to the meeting to be transformed? Saito and his shock that Kisaragi was still human?

7.Leon and Vexille, their investigations, the crises, the fights? Maria and her help, her death? Kisaragi and his death?

8.The populace, their shock, going to their deaths?

9.Leon and Vexille – and their hope for a different world? A new world?

PLAINSONG

US, 2004, 97 minutes, Colour.
Aidan Quinn, Rachel Griffiths, America Ferrera, Geoffrey Lewis, William Andrews, Megan Follows, Mick Hazen, Marianne Seldes, Margo Martindale.
Directed by Richard Pearce.

Plainsong is based on a novel about life in Colorado, a group of ordinary people in a small town. The film shows a cross-section of the townspeople as well as the farmers in the surrounding countryside.

Aidan Quinn portrays a husband whose wife (Megan Follows, Anne of Green Gables) is experiencing breakdown and wants to leave her family. He is a schoolteacher and finds one of the students particularly troublesome and abusive. The principal of the school wants him to pass so that he can be got rid of. His dominating parents are antagonistic towards the principal and the teacher. Rachel Griffiths portrays a divorced teacher, very sympathetic, at the school who takes care of a teenager who has become pregnant and has been kicked out of home by her mother (America Ferrera, Ugly Betty). Geoffrey Lewis and William Andrews portray two ageing single brothers who manage a ranch and are kind towards the teacher’s children as well as taking in the young pregnant girl. Marianne Seldes has a good cameo as a wise old lady who lives in the town and befriends the teacher’s sons.

The film was made by the Hallmark Hall of Fame and so is geared to the widest possible television audience. While it has a great deal of sentiment, it has a hard edge, especially in the character of the teacher as well as the plight of the teenage girl.

The film was directed by Richard Pearce who made some emotional films about the American countryside including Heartland and Country. He also directed thrillers like No Mercy (with Richard Gere) and a great deal of television.

1.A piece of Americana? Both serious and comic?

2.The Colorado settings, the small town, homes, the school, the ranch? The feel of the state? The score?

3.The title and its meanings?

4.The focus on Tom, an everyman character? Ella and her illness, remaining in bed, her moods, her wanting to leave, his helping her to go to the house to live by herself? His visits? The bonds with his sons? Taking them to school? His work in the school, the friendship with Maggie, the principal and his criticisms, wanting Russell Beckman to pass and to be excluded from the school? Tom’s stances on discipline, wanting to fail Russell? The confrontations? The principal’s demands?

5.The background of the farm, the two brothers and their characters, single, ageing? Their down-to-earth work with the pregnant cattle? The boys going to work and enjoying it? Their riding there on the horse later?

6.Victoria, her age, pregnancy, her mother turning her out, later seeing her in the town and ignoring her? Going to school, confiding in Maggie, staying with Maggie? Maggie taking her to the brothers? Her stay there, life, work, school, their shopping for all her maternity needs? Her meeting the father of the child, her going off with him? Her treatment of the old men? Her realising that it was a mistake, the boys’ ignoring of her? Going back to Maggie, the return to the brothers, to hospital, the birth of the daughter, the brothers with her?

7.The brothers and their life, their mentality, down-to-earth, welcoming the boys, welcoming Victoria, the shopping, her leaving, welcoming her back, present at the birth?

8.Russell Beckman, his problems in class, the physical attack on Tom, the meetings, his dominating parents? His being urged to pass the boy? The boys, going to the ranch, on the horse, the encounter with Russell and his group, their being taken? Tom going to the house, confronting the parents and Russell, Russell blurting out the truth?

9.Tom’s wife, the boys and their visit, their love for her, her leaving, would she recover?

10.The boys, with their mother, the rounds with the paper, their meeting Mrs Sterns, her reaction, sitting them down, talking, their friendliness, going to visit her, discovering her dead?

11.Maggie, at work, her concern for Tom, at school, supporting him? Her father and his mind going, his attacks on Victoria? Her story about her marriage, the divorce? A good woman, helping the students?

12.The film as a slice of life, life in an American town, families, hardships, disappointments, hopes?

THREE AND OUT

UK, 2008, 106 minutes, Colour.
Mackenzie Crook, Colm Meaney, Imelda Staunton, Gemma Arterton, Annette Badland, Gary Lewis, Antony Sher.
Directed by Jonathan Gershfield.

A problematic British comedy where the central idea for the humour concerns people under the trains in London Underground and a driver who has accidentally hit two people being told that if he hits a third person within a month, then the company have to dismiss him but with ten years’ salary. Since the driver in question, Paul, a weedy looking nerdish type, played by Mackenzie Crook, is a would-be novelist, he decides that this would be the answer to all his problems, so he searches for would-be suicides. So far, so…

When Paul saves Tony (Colm Meaney) from jumping off a bridge, they do a deal. However, Tony wants to travel north first to see his estranged wife (Imelda Staunton) and daughter (Gemma Arterton) for the first time in years. The odd couple travel together, not without some adventures. Then the film changes tone completely with the interlude in the country, Meaney and Staunton bringing their characters alive more strongly than the film itself.

When they get back to London, Tony is ready for the accident. What is Paul doing? Assisting a suicide, participating in an accident, doing research for his book? Thus far, so…

Underground drivers were not too pleased when they heard the plot of the film and commentators were testing their sensibilities when they wondered whether this material was suitable for comedy. In theory, yes, but the practice here is something of a mixed bag.

1.A British comedy? Dark? Light?

2.The London settings, the detail of the Underground? Flats, ordinary situations? The countryside? The differences? The atmosphere?

3.The title, the reference to the policy about drivers hitting passengers? The effect on Paul? The revelation of the prank?

4.Audience reactions to this theme of people under trains, the subject for humour? The end and assisted suicide?

5.Mackenzie Crook as Paul, a writer, living alone, nerdy style, his flat, the two accidents and their effect on him, the meetings and the authorities, his mates and their telling him the principle? The solution for his problems to find a third person to go under the train?

6.The search for potential suicide victims? The dark humour?

7.Tony on the bridge, Paul rescuing him, their discussions, the deal, his wanting to visit his wife, going into Callaghan’s house and stealing the ring, the rivalry with Callaghan? Paul and his control over Callaghan – and the blackmail?

8.On the road, the details of the travel, the roads, their talk, revelation of characters?

9.Rosemary and Tony, their past, the strong performances of the cast, bringing their situation to life, Rosemary and her fussiness, in the home, nice? Tony and his absence? The memories? The divorce?

10.Frankie, her anger at her father, her lifestyle, opportunities, study? The clash with Paul? Going out, the drinking? Their being together for the night? The effect?

11.Callaghan, his presence in Tony’s life? The ring?

12.The return to London, Tony confessing his illness, the deal, the pranksters telling the truth about the principle of three and out?

13.The ending, the point, Tony and his illness, wanting assisted suicide? How did the film handle the issue?

14.Paul writing the book, his success, Frankie coming to London?

THE DUCHESS

UK, 2008, 110 minutes, Colour.
Keira Knightley, Ralph Fiennes, Dominic Cooper, Charlotte Rampling, Hayley Atwell, Simon Mc Burney, Aidan Mc Ardle.
Directed by Saul Dibb.

Most audiences will probably enjoy The Duchess. No expense has been spared on settings and sets (usually actual British stately homes and gardens, London and Bath), costumes and décor. This is the Georgian era during the second decade of the reign of George III. The life style of the rich and famous was sumptuous – and looks it.

This is a star vehicle for Keira Knightly who became an international star very young, playing football in Bend it Like Beckham. In no time, she was in the first Pirates of the Caribbean film and, despite critical carping concerning her limitations as an actress, she has had the chance for substantial roles in The Jacket, Atonement and The Edge of Love. Her role as Georgiana, Duchess of Devonshire is ideal for her and she gives a good performance.

A key to appreciating the story, the personalities and the royal issues is that Georgiana was the great-great-great aunt (or thereabouts) of Lady Diana Spencer. Georgiana’s mother, played here with her trademark blend of the charming and the supercilious by Charlotte Rampling, was a Lady Spencer. As one watches the film, the parallels (in real life and/or in the construction of the screenplay) between the Duchess and the Princess of Wales are hard to avoid. Had Georgiana died young in a coach and horses crash, the comparisons would be complete. On the other hand, Georgina’s living on in the same house as the Duke and his mistress (her former close friend, Mrs Foster (Hayley Attwell), who later married the Duke) indicates what might have happened to Diana had she lived.

The blogs will tell us what audiences think of any comparison between the Duke of Devonshire and Prince Charles.

Georgiana was something of a late 18th century free spirit, spirited as far as society would allow her (and sometimes beyond). She is shown as a vivacious teenage girl who delights in marrying an older man only to discover that his sole interest is in her producing a male heir (traditions of Henry VIII), a man who had no trouble in supplementing his marriage vows with seemingly impartial zest – except, ultimately, in his true love for Bess Foster. Georgiana had to cope, especially, with bringing up three daughters (one being the Duke’s daughter by a commoner). But, her vivacity broke through many of the protocols, especially in her friendships with Whig Prime Minister Charles Fox and the playwright Richard Brinsley Sheridan. It has been suggested that Lady Teazle in School for Scandal was based on Georgiana. Georgiana, with her clothes’ designs, her high fashion dresses and hats, with her wit and political interests, with her being a darling of high society – and with her passion for profligate gambling which is briefly shown here but was far more substantial in real life.

Her husband referring to her and to up-and-coming politician, Charles Grey (Dominic Cooper), with whom she began a compensatory affair but was forced to give him up or else lose her children, as visionaries who wanted to change things. Georgiana campaigned for Grey in his Westminster constituency. Grey was later to become the Earl Grey, British Prime Minister.

Ralph Fiennes’ embodiment of the seemingly stolid Duke of Devonshire (probably less so in real life according to the histories) is frighteningly convincing. His horizons are completely in the here and now (except for the hope that his wife will produce a male heir), his attention span is limited and, according to his lines of dialogue, he is not particularly intellectual, or even intelligent. He is emotionally quite phlegmatic except for his care for his dogs and his passionate lusts. Bess Foster does seem to have mellowed him somewhat. He has little compunction in ordering Georgiana to do his will and calmly administers threatening conditions on her behaviour and her life with her children. He also has the power of the male, the power of the husband, the power of aristocracy and the power of the purse. While he arrogantly imposes his decisions, he seems quite oblivious of the impact of his behaviour – it is at the level of his sending away some mutton from his lavish dinner table because he thinks, despite Georgiana’s demurring, that it is a bit off.

The protocols of the aristocracy and the era reinforced this kind of behaviour. Whatever the private behaviour of individuals, the era controlled both men and women, but especially put controls on women.

This was the case, shown only in formal dining scenes in the film, of the Duke, Georgiana and Bess in the many years they lived together. The advertising tagline for the film rather cheekily reminds us of the Diana interview, ‘There were three people in her marriage’!

This formal control in the Age of Reason led to the French Revolution and its ‘death to the aristocracy’ soon after the action of this film. On the other hand, Victoria would ascend the throne of England fifty years after the central situations of The Duchess.

1.English heritage films? The 18th century? The 20th century parallels?

2.The sumptuous production, locations, stately homes, gardens, the countryside? The interiors? Costumes and décor, makeup? The musical score? The evocation of the age?

3.The title and the tone, the focus? The Duke of Devonshire, royalty and aristocracy? 18th century and class distinctions?

4.Keira Knightley as Georgiana, young, hopeful, the centre of attention, the initial race with the young men, the bets, her focus on Charles Grey?

5.Her mother, her strong character, dominating, the negotiations with the duke, his stolidity, wanting an heir, the accountant and his advice, the contracts? The duke agreeing? The news for Georgiana? Her happiness, hoping the duke would love her?

6.The marriage ceremony, pomp, style, expectations of the marriage, her pregnancy, bearing a daughter, her mother with her, her mother’s love? The duke’s neglect? The formal dinners, Charles Fox and the Whig parliamentarians? The speeches? The duke’s exit, Georgiana’s return? Her seeing the duke carrying on with servants? Her suffering? The adoption of Charlotte, the duke fathering the child? Her giving birth to a second girl? The miscarriages with the boys?

7.The years passing, Georgiana and her love for the girls, playing with them, her care? Her being a fashion figure, the designs of her dress, hats, her speeches? The politics, canvassing for Grey? Meeting Sheridan, watching The School for Scandal?

8.Going to Bath, the settings of Bath, the parties, meeting Bess Foster, her looking at the duke? The two woman becoming friends, their talking, Bess staying with the family, her desire to get her children back, her vindictive husband, the bonds between the two women?

9.Georgiana discovering the relationship between Bess and the duke, Bess’s motivations, to get her children back? Her staying? The attitudes and advice of Lady Spencer?

10.The duke, his character, unimaginative? His relationship with Bess? Being different, his change, mellowing? His taunts to Georgiana? The assault, her pregnancy, giving birth to the son? The duke’s happiness?

11.Bess as a character, her background, her marriage, her children, her betrayal of Georgiana, yet their remaining friends?

12.The duke, his love for his dogs, unimaginative, self-centred? His expectations as a peer?

13.Charles Fox, politician, prime minister, the Whigs, the elections?

14.Grey, his friendship with Georgiana, devoted to her, loving her? Bess and her talk with Georgiana to imagine the advances of Grey?

15.Georgiana, the bargain, her time away with Grey? Her becoming pregnant, her decision to go to the country, Bess with her, bearing the daughter? The formal handing over of the daughter to the Grey family?

16.The duke, his harshness towards Georgiana, insisting that she break with Grey, threatening her with the loss of her children? The later formal meetings, her asking Grey about her daughter? His referring to her as his niece?

17.Georgiana’s later life, the threesome in the marriage, the children, her place in society, politics, fashion?

18.The film’s comment on society, formality, expectations, marriage, morals?

CHEMICAL WEDDING

UK, 2008, 90 minutes, Colour.
Simon Callow, Kal Weber, Lucy Cudden, Jud Charlton, Paul Mc Dowell, John Shrapnel.
Directed by Julian Doyle.

Chemical Wedding is a bizarre film. It treats the real-life character, Aleister Crowley, an early 20th century Satanist who saw himself as a sorcerer. He was characterised in the film, The Devil Rides Out (1967), and played by Charles Grey.

The film opens in 1947, focusing on Crowley, two young undergraduates curious about his work – and finding him, drug-addicted, dying.

The scene shifts to the present, focusing on an eccentric lecturer played by Simon Callow, full of stammering and nervousness. He goes through a scientific technological process and becomes Crowley or at least is possessed by him. His character changes completely – with Simon Callow giving a very fruity over-the-top performance. In the meantime, an academic from the United States with similar technology comes to investigate, begins a relationship with a young university student journalist, becomes involved with the man in charge of the technological experiments in England.

The film is rather bizarre – and often very silly. This is the case with some of the performances as well as the dialogue.

It is difficult to know how much of the film is meant to be comedy, how much is meant to be serious, how much is a reflection on science, science fiction, superstition, magic and Satanism.

1.The idea of the film? Its execution? Critical disparagement? The characters, the arch dialogue?

2.The world of magic, sorcerers, Satanists, science, technology, science fiction?

3.The academic background, Cambridge, 1947, the 21st century, British developments in technology, American developments?

4.1947, Aleister Crowley and his reputation (and the quotation from Oscar Wilde that Aleister Crowley is a madman who thinks he is Aleister Crowley. Crowley’s own dictum: Do what thou wilt shall be the whole of the Law? The satanic background, his illness, drug taking, hallucinations, the Devil, his academic visitors, their discussions, the spells, the effect on him, the effect on them, his death?

5.The 21st century, Crowley’s reputation, the development of the machines, time, possession? Real or fictitious technology? The American developments, Cambridge developments? The research, the interviews? The background?

6.Oliver Haddo, Simon Callow’s performance, shy, stammering? The academic? His work, ambitions, the friendship with Victor, going through the experiment, the effect on him, being possessed or a reincarnation of Crowley? The change in behaviour, megalomania, power? The students, the experiments, preoccupation with sex, the supernatural? The confrontations, the change in character and behaviour? His undoing?

7.The American professor, Joshua, and his concern, technology, the discussions with Victor, the meeting with Lia, the interviews, the relationship? Things going awry? Dealing with the crisis? Lia, her paper, university student, flatmate, her friends, the relationship with Joshua, the search, the dangers?

8.Victor, in charge of the laboratory, relationship with Joshua, with Oliver? The consequences of his experiments?

9.The locals, Rose, relationships, sex, violence?

10.The title and its meaning? A bizarre subject and bizarre entertainment?

11.Joshua, his discovery about Crowley, occult rituals, reincarnation in the 21st century, using the experimental suit, the machine, winding back time, erasing the period from the memory of everybody – except the academic who visited Crowley when he was young?

FOOL’S GOLD

US, 2008, 113 minutes, Colour.
Matthew Mc Conaughey, Kate Hudson, Donald Sutherland, Alexis Dziena, Ewen Bremner, Ray Winstone, Kevin Hart, Malcolm- Jamal Warner.
Directed by Andy Tennant.

The PR says that this is ‘an aquatic adventure’. Well, it is but, while it is one of those entertainments for a rainy afternoon and many audiences will enjoy it for relaxation, it is still not very good.

In the wake of National Treasure hunts, this one is for sunken Spanish treasure in the Caribbean – and to be fair to the film, there is a lot of recapping the story of the fleet and its cargo and what might have and did happen to it to give the proceedings some intellectual and historical credibility.

However…

The makers have decided that a farcical tone best serves the action and performances, which make it all rather silly a lot of the time. Matthew Mc Connaughey spends most of the time shirtless, diving, fighting and playing the fool. An over-solariumed Kate Hudson does her best with the role of the exasperated ex-wife. And then there are the weird accents: Donald Sutherland trying to do a British toff; Ewan Bremner being a Ukrainian; Ray Winstone doing a southern US twang. Then there is Alexis Dziena overdoing an in-your-face bimbo. Plus a number of unpleasant toughs.

Plenty of fine scenery (courtesy of Queensland), action sequences and some broad comedy and that’s about it.

1.A popular action romantic entertainment? The stars? Their popularity?

2.The Caribbean settings? The sea, the beaches, the islands? The boats? The caves? The towns, the clubs and bars? The mansions? The old churches? Authentic feel for a Caribbean adventure? The musical score?

3.The title, the reference to treasure, to the characters and their pursuit of the treasure?

4.The information, 1715, the forty chests of treasure, the hurricane, at the bottom of the sea? The quest? The maps? The interpretation?

5.Finn and his character, separation from Tess? His love for her? The borrowed boat, diving, the sinking of the boat? Finding the plate? The evidence of the treasure?

6.The gangsters, on the islands, the clubs, violence? The owner of the boat, Bigg Bunny?

7.Tess, in court, the divorce hearing, Finn and his hurry, arriving late? Tess’s exasperation? Her getting everything?

8.The treasure, Finn telling Tess? Her interest, but her disbelief in him? On the boat, Nigel Honeycutt and his wealth? Her waitressing, her being a hostess?

9.Finn getting on the boat, his chat with Honeycutt, the explanation of the treasure hunt, Honeycutt and his offering the money? Honeycutt and his relationship with his daughter?

10.Moe Fitch, in the Caribbean, the competition with Finn, the clash between the two, the fight?

11.The underwater sequences? The search for the treasure? The dangers? Both Tess and Finn in the water? The realisation that the search was in the wrong place? The churchyard, the logbook? The information about the blowhole?

12.Bigg, his vengeance, his henchmen? Their taking Tess? Her diving, into the blowhole? The discovery of the treasure?

13.The rescue, Fitch and Honeycutt? The clash with Bunny’s men? The seaplane – and Finn and his clash with the thugs, on board the plane, the clash with the pilot, flying Tess to a safe landing?

14.The celebration, Honeycutt back on the boat, the treasure, and the donating it to the museum? The happy ending for all?

15.The action sequences and the adventure? The contrast with the characterisations, Honeycutt and his wealth, alienated from his daughter, her trying to be sexy? Finn and his Ukrainian friend, Ewen Bremner’s satiric performance as the Ukrainian? Fitch as one of the local heavies – but giving support to Finn and Tess?

AS YOU DESIRE ME

US, 1932, 70 minutes, Black and white.
Greta Garbo, Melvyn Douglas, Erich von Stroheim, Owen Moore, Hedda Hopper.
Directed by George Fitzmaurice.

As You Desire Me is a brief melodrama. It is based on the play by Luigi Pirandello (at least the skeleton outline of the play).

The setting is central Europe between the wars. Greta Gabo plays Zara, an alcoholic singer in Budapest who is living with the writer Karl Salter (allegedly based on the playwright Ferenc Molnar – The Swan). Her husband is a brutal man, sadomasochistic and Zara wants to leave the partnership. When a young man arrives (Owen Moore) claiming that Zara is really Maria who has suffered shellshock loss of memory during an incident in World War One and is really married to his friend Count Bruno (Melvyn Douglas), Zara takes the opportunity to escape, to relate to the count, to be pursued vindictively by Salter. However, a woman from a mental institution is also brought to the castle and it is claimed that she is the true Maria.

As with Pirandello’s stories about identity, the audience is left to look at the characters and try to work out what is the truth.

The film is an early talkie and has Garbo with her accent – not a particularly good performance, striking because of her ability to throw her head backwards at an almost ninety-degree angle to her neck. Erich von Stroheim seems to be completely exaggerating the melodramatics of his role (and his peculiar accent). Melvyn Douglas is not particularly good at all. He was to appear with Garbo ten years later in Two -Faced Woman, her last film. Columnist Hedda Hopper also has a role.

1.An early talkie? The limitations of film-making at the time?

2.Pirandello’s work, ambiguous characters, the search for identity? The whittling down of his plot and characters and dialogue?

3.Black and white photography, the studios for central Europe, Budapest, the castle, the countryside?

4.The issues of World War One and shellshock? The aftermath? Amnesia and identity?

5.Greta Garbo as Zara, her life, singing, her audiences, her drinking? Her relationship with Karl? The brutality? Her wanting to leave? The encounter with Tony, her escape, Karl’s pursuit and his vengeance? Bruno, the relationship? The other Maria and her decisions about her true identity?

6.Erich von Stroheim as Karl Salter, his screen presence, eccentricity, accent, over-the-top performance? His character’s relationship with Zara, his jealousy, her going, his pursuit, the confrontation with Bruno?

7.Melvyn Douglas as Bruno, a poor performance? Suave, married to Maria, his wealth, welcoming Zara, the confrontation with Karl? The woman being brought from the institute? His decision as to who was the true Maria?

8.Tony, his camp style, his news about Bruno, with Zara, taking her to Bruno?

9.The background of the Budapest clubs between the wars? The contrast with the country estates and their wealth?

10.A curiosity item from the early days of talking movies?

KRAKATOA EAST OF JAVA

US, 1969, 131 minutes, Colour.
Maximilian Schell, Diane Baker, Brian Keith, Barbara Werle, John Leyton, Rossano Brazzi, Sal Mineo, J.D. Cannon, Marc Lawrence.
Directed by Bernard L. Kowalski.

Karakatoa East of Java was one of the last films made in three-screen Cinerama process.

Everybody has commented on the geographical inaccuracy of the title because Krakatoa is in the Sunda Straits between Sumatra and Singapore, which means that it is west of Java. Even the rather 60s-style song during the action, composed by Mack David, repeats the geographical error.

This is a very old-fashioned style of film-making. Bernard L. Kowalski worked in television, made a number of feature films including Stiletto in the late 60s and then returned to television. The special effects, most impressive with the eruption of Krakatoa and the enormous tidal wave, were directed by Eugene Lourie and were Oscar -nominated.

The setting is Indonesia in 1883 on the eve of the eruption of Krakatoa. Maximilian Schell portrays a very benign sea captain, going on a treasure hunt at the instigation of rather mentally unbalanced, Diane Baker. Brian Keith is a diver who has collapsed lungs and is relying on laudanum (which gives him hallucinations and an attack on one of the Japanese divers). Barbara Werle is his showgirl girlfriend (who suddenly bursts into song in the cabin and does a mini-striptease!). John Leyton is the diver who has invented a diving bell. Rossano Brazzi is an Italian balloon flyer and Sal Mineo is his rebellious son. J.D. Cannon is a sailor who worked with the captain but has been guilty of killing a man after gambling and leads a revolt of the prisoners who are taken on board. Needless to say this provides all kinds of subplots as well as the potential for more disasters and eruptions than Krakatoa itself.

The dialogue is rather simplistic in its way, making the film a touch corny. However, interspersed amongst the subplots and the corn are the special effects and the culmination in the tsunami. In a way this film was the precursor of the 70s disaster trend because Airport appeared the year after and The Poseidon Adventure three years later.

1.Old-fashioned film-making? Adventure? Character complications? Natural disasters? The blend of these?

2.The cinematography, designed for Cinerama and three screens? The spectacle? The special effects, the eruption of the volcano, the interior of the volcano and the balloon, the balloon going through the chasms, the wave, the tsunami? The musical score and atmosphere? The rather jolly 1960s style – and the insertion of the two songs? Appropriate or not?

3.Audience knowledge of Krakatoa, the eruption in 1883, the enormous loss of life, the tsunami? The geographical error of the title?

4.Captain Hansen, genial, his ship, going in search of the pearls, his relationship with Laura, her instability? Connerly coming aboard, relying on him for the diving, his breakdown, his attack on the Japanese girl, his being put in the cage? His going down? Charlie and her presence on board, her pleading for Connerly? The captain’s reliance on his crew, Douglas Rigby and the diving bell, his going down, his being caught, the rescue? The Italians, the father and son, the balloon, finding the sunken ship, their return? Dauzig and his previously being part of the crew, the captain being persuaded to take the prisoners on board, keeping them on board, the money? Giving half to Connerly? The other members of the crew? Dauzig and his asking to be (**a freer? Not sure) freer on ship, his leading the revolt, imprisoning the passengers? Their being freed? Laura and her search for her son? The dangers of Krakatoa, sailing through, the rescue of the children, the Italian and his going ashore for safety, his son remaining on board? The tidal wave?

5.Laura, her divorce, her husband and his ship, her son and the separation? Seeing the son in the class with the nuns at the beginning and their singing the songs during the eruption? His seeming to be dead, the burnt church? His being on the boat, rescued?

6.Connerly, gruff and old, his lungs, the laudanum, Dauzig and his warning him? The hallucinations? The Japanese? His part in the rescue? Charlie, the good-time girl, the singer, her song?

7.The scientific background, the diving bell, Rigby and his design, bringing it on shore, the man falling to his death, lowering it into the water, his finding the ship, the dangers and his rescue?

8.The Italians, the clash between father and son? On the balloon, the exhilaration of the flight, seeing the boat, the flare? Going through the mountains, into Krakatoa, the basket going on fire, their jettisoning it, in the water? The father and his decision to go ashore?

9.The Japanese divers – and the touch of 60s glamour?

10.The cardboard characters, the predictable situations – and yet the impact of the disaster material?