VEGAS: BASED ON A TRUE STORY

US, 2008, 102 minutes, Colour.
Mark Greenfield, Nancy La Scala, Zac Thomas, Walt Turner, Alexis Hart.
Directed by Amir Naderi.

Iranian director, Amir Nadiri, has lived in the United States for over twenty years. He has made a number of small-budget films, looking at what to moviegoers is familiar in different ways, from his original Middle Eastern perspective. He observed New York in Manhattan By Numbers (1993) and now turns his gaze on Las Vegas. He says he has spent quite an amount of time around Vegas and has listened to many, many stories, especially hard luck stories from those who live there.

This is the grounds for that part of his title: Based on a True Story.

In fact, this is a very different Vegas story. The skyline is seen in the distance. The action takes place outside the main strip and away from the luxury casinos. None of the characters work in the casinos or have any immediate contact with them. This is a Las Vegas of the suburbs, a rather dreary and dusty landscape where people live in cheap houses, having graduated from trailers. Filmed digitally, Vegas has a down beat, gritty look that is often unattractive but is real.

The film focuses on the Parker family. Eddie (Mark Greenfield) works at a tyre repair mart, not a glamorous occupation. Tracy (Nancy La Scala) works as a waitress in a local diner. They have a 12 year old son, Mitch (Zach Thomas) who goes to school, likes some solitude in the family's old caravan but has some friends from school. Eddie goes down to the bar for a drink. Tracy is obsessively house proud – and spends a great deal of her energy in laying down house regulations and insisting on their observance. She has great pride in developing a front lawn and watering it and some flowers and tomatoes she grows.

All seems pretty ordinary, though we discover that both Eddie and Tracy are recovering gambling addicts.

When they are visited by a marine who tells them that he used to live in the house and that his mother is offering a high cash price to buy it again, Tracy will not even consider it. She has had the right intuition because the marine is not a marine but has a theory that the million dollar proceeds of a 1965 robbery at the Sands is buried under their front yard.

St James says that the love of money is the root of all evil. It is certainly illustrated by the zest with which Eddie starts digging with the help of Mitch. Tracy strongly resists. When she discovers some evidence that the story is plausible, they dig and dig and dig. Whether they find the money or not and what Brian is doing to them is a strong motive for watching the film. Whether they find the money or not, the digging has an appalling effect on their lives.

With a small budget, some fine acting and a compellingly different look at Las Vegas, gambling and greed, Amir Naderi offers us a telling allegory. Winner of a SIGNIS Commendation at the 2008 Venice Film Festival.

1.The independent film-making, small budget, amateur cast? Small film? Based on a true story, the truth about Las Vegas?

2.The title, the focus, on the periphery of the city, the glimpses of the casinos in the centre, staying in the suburbs, the desert, the homes, the tyre workshop, the diner, school, the church, the trailer world? The image of Las Vegas? The reality? The atmospheric score?

3.The title – the basis on a true story, or rather based on the truth about Las Vegas, the people, their histories, gambling, ruin?

4.The director and his Iranian background, working in the United States, the outsider’s view and vision?

5.The introduction to the family: ordinary, the information about the past, Eddie and Tracy and their gambling, reformed? Tracy and her job at the diner, her friendship with Doris, interactions with the customers, the bets about tips? Doris as a friend? Relying on her, crashing at her house, taking Mitchell to the party? Eddie and his working with the tyres, his pals, reformed? The small gambling each day, the beer and the smokes? Tracy as the boss, prescriptive in the house? The neatness of the house, everything clean? The garden, the rules? Mitchell and his age, going to school, Stephanie, Russ and his friends, the bullying? Confiding in Stephanie?

6.Brian and his arrival, sitting in the car, the marine’s story, the death of his father, his mother wanting to buy the family house, his fighting in Iraq? The price for the house, pursuing each of the family, the reaction of each? The discovery of the truth about him? His plausible story about the gang and the million dollars in the suitcase buried under the house? Brian and his sitting watching the digging? The police arriving and warning about the scam? The truth about Brian?

7.The nature of the scam, reality betting and the various stages depending on what the family did?

8.Eddie, his character, a good man, a weak man? His interest in the story, his behaviour? Believing, starting to dig, Tracy’s reaction, Mitchell and his help? The single spot, the increasing digging, going into the garden, deeper, the flowers going, the tomatoes going, the destruction of the greenhouse? Getting the drill, the bulldozer? The wreck, the inside of the house wrecked, slovenly? His making demands on Mitchell? Tracy’s going? The intensity of the obsession?

9.Tracy, reluctant, the discovery of the pipe, her leaving and staying with Doris? The suitcase handle, her doing the research in the documents and the papers, her agreeing to dig, her exhaustion, destroying her plants, her decision to leave?

10.Mitchell, his initial enthusiasm, helping, the change, his father’s obsession, buying the beer and cigarettes, the takeaway meals, the television and watching the gambling? His going with his mother, returning? Russ and the job of giving out the cards, talking with Stephanie in the trailer, her coming by, giving her the lovebirds to look after? (And the symbol of the three birds in the cage?) His finally going to school again with Stephanie?

11.The drama of the film, the film as an allegory about greed – and a different Las Vegas story?

SUT (MILK)

Turkey, 2008, 102 minutes, Colour.
Melih Selcuk, Basak Koklukaya.
Directed by Semih Kaplanoglu.

Milk is the second of a project trilogy, the first being Egg (2007).

The central character is a young man, recently graduated from high school, living in a village in the hinterland of the Aegean coast, behind Izmir. He lives with his mother who has a cow, sells the milk and cheese at the market as well as deliveries.

The young man is an introvert, a poet, has sent poetry to a literary magazine and does have one published. He is friendly with the professor, who mainly gets drunk and is of no practical help. He is able to show his friend, a miner in the recently established mine, his poem and his friend encourages him to continue his writing. He has one outing with a young woman but seems more interested in himself and his inner world.

When he is called to join the army, he does tests but is rejected. Later he has an epileptic fit. Meanwhile his mother, by chance since her son had not repaired the motorcycle tyres, gets some help from the station master and begins a relationship with him which has an adverse effect on the boy.

The setting is poetic, there are beautiful lyric views of the countryside and with many long takes, especially of individuals’ faces as well as of the surroundings, it is something of a contemplative film.

The film opens with some magic realism, a shaman who writes his messages on small pieces of paper and puts them in milk to see whether they will dissolve or sink. A young woman is brought to him and she is hung upside down and his incantations mean that a snake is removed from her, a kind of exorcism. Later the young man will go to the shaman and ask his help about his future life. Because the boy is epileptic – with the overtones of their being something mysterious, mysterious spirits in an epileptic, the boy has special significance. However, this part of the trilogy ends rather dramatically and sadly as the boy goes to work in the mine.

1.A poetic film, lyrical, contemplative?

2.The Turkish hinterland, the village and its extent, the homes, the environment, the historical ruins, the mines, the railway? The contrast with the city of Izmir, the bookshops, the army headquarters …? The musical score and the Turkish tones?

3.The title, the opening, the symbolic use of milk, the shaman and the message in the milk? The literal milk, the milking of the cow, Yousef and his delivering the milk – and the women later refusing because of the failure of his mother to deliver the milk?

4.The opening, the shaman, his writing, the men waiting with the young girl, her fear, her being lifted up, hanging upside down, the prayers and the exorcism, the snake emerging from her mouth? Yousef’s later visit to the shaman, his writing his message, putting it in the milk?

5.Yousef’s story, his age, schooling over, considerably introverted, writing poetry, the meetings with the professor, his drinking beer, helping him home? The poem being published and his mother’s response? Sharing it with his friend at the mine? His relationship with his mother, the bike and his not fixing the tyre, the meals at home, his loving his mother, the work, selling the cheese at the market, his going to buy shoes, outing with the girl in the ruins, the deliveries of the milk, his mother’s failure and the customers cutting him off, going to the army for the tests, meeting the girl in the bookshop, planning to meet her again and his not doing so? His crashing the bike, the epileptic fit? Seeing his mother looking in the mirror, coming to the door again and pretending he hadn’t seen? The effect of the relationship on him? Going to mines, the long single take at the end, going into the light on his miner’s hat, going to his face? His future?

6.Yousef’s mother, her age, life, love for her son, hard work, the milking, the market, the bike, the breakdown, the station and the station master helping her, the visits, the coffee grounds and the woman interpreting her future, the satisfaction of the relationship, her looking at herself in the mirror, admiring herself? The clashes with her son?

7.Yousef, the professor, his friend in the mine, the customers, the girl in the ruins, the girl in the town, the army interviews? His capacities for relating to people? Being by himself?

8.The poetic style, the contemplative gaze, the long shots, the pauses, sharing? The sadness of the ending?

BELOW SEA LEVEL

Italy/US, 2008, 106 minutes, Colour.
Directed by Gianfranco Rosi.

If ever one wanted to see an alternate view of the United States, this is the film.

The title refers to the California Desert near the Mexican border which is below sea level. It is an empty and dry space, a haven for derelict cars and other vehicles. However, it has become a haven for dropouts from society, those who are, according to one of the characters, residentially challenged. There is an explanation by Mike Bright about how he was moved on all the time because of legislation about sleeping in parks, not having proper addresses. However, a group of dropout Baby Boomers, ex-hippies are now able to live there in peace. However, it is important to note that the mental stability of most of the characters is not very strong at all.

An Italian documentary group interviewed a number of the residents of this area. They are a motley group but make for interesting viewing and interesting listening. They are not completely cut off even though there is no electricity and a water dealer travels around to supply water. However, they are able to go into the nearby towns for shopping and also keep contact through radio.

The film-makers have a great sympathy for their interviewees. However, they do not minimise the strange characteristics, the bizarre personalities, the interactions between the people, some of them quite intimate with the touch of the intrusive. There is the water man himself who plays golf while doing deliveries. There is Mike Bright who is concerned about bugs and about the environment. There is Kenny who has moved around a great deal, but lives in a bus, wants intellectual conversation and takes up with the doctor. The doctor herself has opted out of life, has a failed marriage and reveals that someone was trying to kill her and her son took the bullet for her. There is also another woman, called Bulletproof, who was shot in the face but survived. The oddest of all characters is Mad Wayne, whose eyes pop, who is uninhibited in his language, takes up sexually with Bulletproof, has some harsh things to say about God and religion. Finally there is a sympathetic transsexual who has a small beauty parlour and tends to the hair and nails of the people living in the caravans and cars. She talks about her past, shows photos of herself in high school, then in the navy and speaks about the experience of Vietnam and the blaming by the American public of the soldiers when they came back. She also has a very romantic idea of marriage and waiting on her husband – despite having had six marriages.

Here is a cross-section of dropouts, American dropouts, talking the language of America but on the periphery.

1.The impact of the film, the information about the setting, the desert, the Mexican border? No regulations or legislation?

2.The visuals of the desert, the buses and cars, the derelict cars? The musical score?

3.The title, the factual situation? The implications of these characters dropping out of ordinary radar?

4.Life in this community, people keeping to themselves, their interactions? Going into town? Listening to the radio? Living their own lives?

5.- The water man, conversation, playing golf, the deliveries?
- Mike Bright, his background, explanation of the situation, the
mosquitos and bugs, his reflection on his children? Alcoholism?
- Kenny, in the bus, moving around, wanting company and
intellectual conversation, with the doctor, moving further into the
desert, her blunt talking, his response?
- The doctor, her opting out of life, her marriage break-up, losing
custody of her child, the shooting, the death of her son, her blunt
talking to Kenny? Her acupuncture treatment of the dog?

6.Bulletproof, the liaison with Mad Wayne, her telling the story about the bullet in her face?

7.Mad Wayne, his eyes, appearance, talk, language, blunt, sexuality, religion and God?

8.The transsexual, the background, the photos, serving in the navy, Vietnam, the return? Sexual issues? Marriages? Son? The beauty treatment? Conversation? The trying out of the various wigs?

9.The overall effect of an immersion in this kind of situation and with these people? Human empathy?

IL PAPA DI GIOVANNA

Italy, 2008, 104 minutes, Colour.
Silvio Orlando, Francesca Neri.
Directed by Pupi Avati.

Pupi Avati has been making films for many decades. His focus is on Italian history, especially from the 1930s. He also has a great interest in families and has presented many variations on the themes of functional and dysfunctional families. Many Italians believe that he has told the stories too often. However, for those who enjoy his stories, Il Papa di Giovanna is very good entertainment and has a great number of interesting themes.

The setting is Bologna in 1938. The film’s style recreates the atmosphere of the period and uses a muted colour to suggest those years of fascism.

The title refers to Michele, a middle-aged teacher in a high school. He is very protective of his rather naïve and socially awkward daughter, the seventeen-year-old Giovanna. Delia, his wife, has married him out of devotion and security rather than love. Giovanna is awkward at school, however, she seems to have formed an attachment with one of the more dashing students. She is also invited to a party by her best friend, the daughter of a fascist senator.

As the film recreates this period, it suddenly turns into a crime drama. Giovanna murders her best friend. In court, with psychological examination, she is considered to be mentally unstable and is sentenced to an institution. As the war breaks out and continues, with bombing raids on Bologna, the father of Giovanna continues to visit her while her mother cannot bring herself to do this. The marriage disintegrates, the father moves closer to the asylum so that he can be with his daughter. The mother takes up with the father’s best friend, the neighbouring policeman.

The film continues after World War Two, Giovanna being released in 1946. The film also highlights aspects of the war, especially with the execution of fascists by the partizans.

The film ends in 1953 when the father, still looking after his daughter, encounters her mother and there is some kind of understanding and reconciliation.

Silvio Orlando is excellent as the father. Francesca Neri is the mother. ……… ……… is very persuasive as Giovanna.

1.An Italian story? History? The feel of the times? The issues? The lush score?

2.1938, Bologna, ordinary families, the school, the fascist background, the city settings?

3.World War Two, the bombing raids, the shelters, the survivors, the lack of food, the search for jobs? The end of the war and the rejoicing? The execution of the fascists?

4.The courts, prisons, mental institutions?

5.1953, the changes in Italy, prosperity, television sets in the shop windows, going to see the movies? Calamity Jane?

6.Giovanna’s voice-over, the initial photo of her family, the end and her expression of hope? The attitude of her optimistic father, her more realistic mother?

7.Michele, his age, his experiences, arts studies, attempts to contact the artist to write his biography? At school, the votes on the board, his concern about students sitting exams? Giovanna and his care, protective? The discussions with his wife about his daughter? His caution? The talk with Dalmastri, allowing him to sit the exams, his urging him to be friendly with Giovanna, threatening that he should not hurt her? Everybody in the school knowing about this? His seeing Giovanna with Dalmastri? Going to buy the dress, Giovanna going to the party, her drinking, his having to go, bringing her home? His love for Delia? Her fidelity to him but lack of love? His being an ordinary man, unprepared for what happened with Giovanna’s crime?

8.Giovanna, her age, naivety, problems, shyness, the pockmarks on her face? At school, teased? With Dalmastri, talking, his comments about her work on Petrarch? Her infatuation with him? Her friendship with Marcella, buying the dress, going to the party, drinking? Coming home? Her father’s protection, her mother trying to be realistic? Feeling that her daughter saw her as only interested in beauty and nothing else?

9.School, the meetings, Michele and his teaching? At home, seeing the razor, the blood, the stains? Giovanna’s arrest, his fears, the finding of the sperm and his relief? The explanation of Dalmastri with Marcella? His going to the gym, his friendship with Sergio, Delia and their going to the police station? Giovanna and the interrogations, her confession? Michele refusing to believe? Delia knowing?

10.Sergio, the neighbour, policeman, friend, his wife, Leah? His love for Delia, under the surface? His work? The investigation?

11.The fascist background, the senator, the mother? Mussolini and the celebrations, the flashback to Mussolini’s birthday and Giovanna’s having the fit, the dancing? The authorities, the Secret Police, the investigations? The judge?

12.Michele, at school, the principal dismissing him, the baker giving him bread and then refusing custom? The people in the street, shunning him? Marcella’s mother, her violent reaction and screaming? Giovanna in prison, the visits, Delia not able to visit and returning home? Giovanna wearing the party dress in the court? The discussions with the lawyer, the plea, insanity, her interviews with the doctors?

13.The court proceedings, Giovanna in the cage, the dress, her behaviour, her listening, her tantrum? Dalmastri wanting her out of the court? Her anger?

14.The testimonies, Dalmastri and his explanations? The verdict? Her going to the asylum? Michele accompanying her?

15.The asylum, the staff, the doctors, the patients and the range of mental behaviour, her wanting her mother’s gloves, the bath sequence?

16.Michele’s visits, over the years, talking with her, outside the fence, her conversations, the gloves, the moods? The psychologist and his talking about Delia’s love for Sergio and Giovanna’s perceiving this, resentment? The responsibility for Giovanna’s situation? Michele and his talking this over with Sergio?

17.Sergio arranging the job at the bar, Delia and her settling in? Michele and his decision to leave? Leaving the two together? The air raid, Sergio’s wife being killed? Michele and his boarding, Sergio’s and Delia’s visit? His teaching the local children? Sergio and his remaining loyal to Mussolini? Going north?

18.The end of the war, the courts against the fascists, the partizans, Delia present, Sergio and his condemnation, the shooting, his being wounded, running, getting in the tram, his death?

19.1946, the release of Giovanna, her wanting to see Marcella’s mother, no forgiveness, the fascist relentlessness? Getting her hair done, people talking about her, the ordinary life, going back to their own house after the war? Michele enquiring about Sergio? About Delia?

20.1953, Bologna, changes, the streets, the people watching the television in the shops? Going to the cinema? Delia in the cinema? Giovanna talking with her, Delia coming out, Michele’s explanation that she had reverted to being like a child?

21.The family getting together again, the possibilities? The personal story in the context of World War Two?

PONYO ON THE CLIFF BY THE SEA

Japan, 2008, 101 minutes, Colour.
Directed by Hayao Miyazaki.

Ponyo on the Cliff by the Sea is aimed at very young children – and reaches its target excellently. It does not condescend, tells a plain and simple story with touches of delight, humour, moments of fright. This is a satisfying combination. Because it works at this level, it is also agreeable for adults who enjoy animation films.

Director Hayao Miyazaki has been involved in Japanese animation since the 1980s. However, he had some years of study in the United States, especially with John Lasseter from Pixar Studios. He received the Academy Award for the best animation film of 2003 with Spirited Away. He followed this with the strong animation film for children and adults, Howell’s Moving Castle.

The film has a fairytale tone to it, sufficient realistic aspects that children can identify with. Just as Finding Nemo showed that audiences around the world respond to an entertaining film about fish, so this film about a goldfish who wants to become a little girl, is befriended by a little Japanese boy, is threatened by her sorcerer father but rescued by the Queen of the Sea, her mother, has all the ingredients to make an attractive film.

1.The appeal of the film, the animation, Japanese style, universal?

2.The director and his work, his visual style, taking fairy stories, taking delight in the stories and characters?

3.The simplicity of the plot, the animation, the characters? The age target? For adults?

4.The animation style, the credits with the fish and the sea, the boats? The sorcerer, the humans, on land, the Queen of the Sea? The effect? The musical score? The Ponyo Song and the final credits?

5.Ponyo in the sea, the whole family, the threats of the bigger fish, getting out, escaping, the jellyfish cover, caught in the jar? The boats, the dangers? The sorcerer’s pursuit? Washed onto the shore?

6.Susoke and his plane, on the rocks, finding the bottle, getting Ponyo out? His delight? Keeping her in the bucket, the waves pursuing Ponyo, the fish waves? Ponyo as a character, understanding Susoke, speaking, spitting the water? Up in the house, Susoke saving her, in the car, going to school, his mother, the elderly people, his playing with Ponyo, her squirting?

7.Susoke as a little boy, his relationship with his mother, the father on the boat and waving to him? His relationship with the old ladies?

8.The sorcerer, changing the fish into the waves, taking Ponyo back into the depths?

9.Ponyo and the elixir of life, into the sea, the floods, the effect on the town, the cliff, the elderly people? Their being rejuvenated in the water with the elixir of life?

10.The Queen of the Sea, her beauty, Ponyo’s mother, the relationship with the sorcerer, the confrontation?

11.Ponyo as a little girl, her powers, play, her being returned to the sea, reduced, the mission to stop the flood, with Susoke, the love of Susoke, the queen and urging them on? The old people and their support?

12.The queen, the restoration of the balance of the world? Ponyo as loved, allowed to be a little girl?

13.The gravity of the earth, the moon, the earth being saved? The sorcerer returning to the sea in his boat?

14.The popular ingredients, the human and environmental messages?

GOODBYE SOLO

US, 2008, 92 minutes, Colour.
Souleymane Sy Savane, Red West.
Directed by Ramin Bahrani.

A small film but most welcome.

In 2006, American born (of Iranian ancestry with some years of film study in Iran) Hamin Bahruni made another satisfying brief film, Man Push Cart, which dealt with the life of a Pakistani with a food cart in New York City. There was a depth of humanity in this story and in the characters.

For Goodbye, Solo we are in a completely different part of the US and with a different set of ethnic characters. Solo (short for Soulemayne) is a taxi driver in North Carolina's Winston- Salem. He hales from Senegal where he sends money to his extended family and to which he hopes to return. However, he has absorbed a lot of the American style and the US jargon. But, he has not absorbed the prevailing values. Solo is a good man, one could really declare him something of a secular saint. He is good-naturedly extrovert, cheerful and there is no trouble in his helping anyone who needs it (and who does not necessarily ask). His Latino partner is pregnant and he has a fine relationship with her young daughter.

However, the other central character is a 70 year old former biker, William (Red West) whom Solo befriends despite William's curtness and resistance. Gradually, William thaws a little and does a deal with Solo that in ten days' time, he is to drive him to Blowtop Mountain. It is clear to the audience and, soon, to Solo that he wants to end his life. Solo is persistently good and nice in his efforts to help William and they
do become friends. William also befriends the young girl. There are many ups and downs during the ten days, especially Solo being sent away by the expectant mother and staying in a motel with William. He studies for an exam and interview to be a flight attendant and William helps with quizzes. William also goes to a local cinema and chats with the cashier.

In many ways, nothing much happens. More importantly, a great deal happens in terms of genuine friendship, affection and an attempt to give some meaning to William's life.

The performances are just right. is completely engaging as Solo. Red West embodies this old-style biker. There is a lot of sentiment but not sentimentality. This is the kind of film that credibly and satisfyingly restores one's faith in human nature.


1.The quality of the film? Small, modest, small-budget, the cast? The impact? The work of the director? His American-Iranian? background?

2.The title, the focus on Solo, William and his deal, the dramatic focus of William’s death?

3.The locations in Winston- Salem, North Carolina and the migrant world? The African migrants, the Hispanics? The taxi drivers, motel managers, the dangerous neighbourhoods? Authentic atmosphere? The score?

4.The portrait of Solo, in himself, his age, a good man, extroverted, friendly and cheerful, driving the taxi, his relationship with his passengers, special clients? The moving back to Senegal when he had the money, sending the money to his family? His sense of the extended family? The other drivers, his flirting with the taxi manager? His ex-wife and the bar? His relationship with Queira? Their life together, Alex as his stepdaughter, at home in the house, his love for the family, his ambitions, the preparation for the flight attendant exam, the study, the quizzes with William? Queira’s pregnancy? Her moodiness, ousting him, his being by himself, her wanting him to fix the car, his easygoing style, not worried about the money? The time, playing pool, his friends? His adaptation to the US – and his vocabulary and expression?

5.The contrast with William, as a passenger, gruff and curt, silent, no intrusions on his private life? Going to the cinema, the explanation of the deal, the hundred dollars deposit, Solo and his studies, helping with the quiz? Playing pool, the growing friendship? At home with Solo, meeting Queira, her ousting him? The friendship with Alex, moving house, going to the motel, Alex fixing the curtains? Solo and his moving in? The boy at the cinema, the discussions about him, closing his bank account? Solo going through his goods, taking the tablets to the pharmacist and finding there was no life-threatening illness? His going through the things? Discovering the photo of the boy? The clash with William, William wanting another driver? Stipulating 8.00am, allowing Alex to go, the drive, the unemotional farewell? William in himself, his age, the past biker, lies about his family, his death?

6.Alex, her age, love for Solo, love for her mother? The phone, the photos on the mobile phone, sending them? Fixing the curtains? Friendship with William? The birthday, the travelling, the ice cream – and the delight at Blowing Mountain?

7.Her mother, the bonds, the fight with Solo, Solo going away, the pregnancy, the birth?

8.The themes of a new birth and the death of the old man?

9.The autumn, the trees, the mist, the mountain, the wind blowing the sticks back? Not blowing William back?

10.A film about goodness, Solo and his efforts to give life to William, but not controlling William’s life or death?

PLASTIC CITY

Brazil/China/Japan, 2008, 118 minutes, Colour.
Anthony Wong, Joe Odagiri.
Directed by Yu Lik Wai.

Plastic City is an unusual co-production, between Latin America and Asia. It takes for granted the fact of so many Japanese migrants living in Brazil as well as business connections with China and Taiwan.

The film is odd and bizarre at many times, yet a somewhat fascinating portrait of criminal activity, migrants in a completely alien world and their adaptation, Brazil and San Paolo in the modern world.

The film opens in the jungle, on the border of Brazil, Japanese migrants being pursued, killers, animals in the jungle and the central character, Yuda (Anthony Wong) transfixed by a tiger but rescuing a little Japanese orphan. In the present, the film shows Yuda and his empire of fake goods and his deals with China, the menace of the Mafia, corrupt government officials, government permissiveness and control, bosses from New York City. He manages his empire with the help of the little boy, now grown up, Kirin (Joe Odagiri). Yuda’s empire includes clubs, prostitution – though he draws the line at drugs.

During the film, the director relies on the tradition of the thriller, of the Mafia-type dramas, of business rivalries and ruthlessness. Yuda himself, played sympathetically by Anthony Wong, is, however, a disreputable person and unlikeable. His adopted son, Kirin, is an idealist although caught up in this criminal world.

The film shows the collapse of Yuda’s empire, his going to jail, the deals for his release, his revenge. It also shows the complicated loyalties of Kirin, his love for one of the prostitute dancers and the plans to go away with her and yet his staying with his adopted father.

The film ends with some South American mysticism with Yuda’s return to the jungle, his communication with the natives there, going through rituals – and Kirin’s finding him, with tragic results.

The film is realistic at times, quite symbolic, even hyper-symbolic during the last forty minutes. While there is realistic treatment of some issues, other sequences like the post-Tarantino martial arts battle on the top of a monument, interrupt the flow of the film and it seems that many realistic episodes (including the flooding of the city) are omitted.

However, it is an interesting sign of world cinema and collaboration between different and diverse continents.

1.The dramatic impact? Visual style? Content? Excess?

2.The international co-production, the ingredients for the interested parties? Brazil and its life, San Paolo? The Chinese and their business? The Japanese migrants? The different perspectives? Asia and Latin America? The musical score? The songs, the karaoke, the clubs?

3.The opening in the jungle, the contrast with the city, the visuals and the photos used of San Paolo, edited and stylised? Surreal? The blend of the surreal and the real? Club, apartments, offices, the warehouse, the factory? The boat?

4.The world of fake goods, Asians and their selling as well as making them? The opening of the Latin- American market? The industry in San Paolo, the street-sellers? The money turnover, the deals, the government and its interventions, the police?

5.Yuda, in the jungle, at the border, the shooting of the Japanese, his taking Kirin from the tiger? The symbolism of staring out the white tiger? The end, the return to the jungle, Yuda and the rituals, the mystical knowledge, the tiger? The photos for Kirin, his arrival, Yuda and his using Kirin’s sword to kill himself? The significance? The sacrifice?

6.Yuda and his age, the forty years in business, his explanation of his origins, the building up of the business, his trophy wife, her work at the club? The crime world? The club? Prostitution? The dancers? The fake goods, Kirin and his being second-in-charge, his surrogate son? The deals, the intervention of the government official, the mediation of Coelho? The man from Taiwan, the New York Mafia connections? The opening of the mall? The police raids, the impounding of the ship, Kirin and his work, the closing down of the factory, Yuda’s arrest? In jail, his being bashed? His getting out, his anger with Coelho? Kirin and his hiding, his wife, the flood, the ship and the discussions with Mario, Kirin killing Mario, the burning of the ship, the explosions? Faking his death, going to the jungle, going through the rituals, his death with Kirin’s sword?

7.The contrast with Kirin, his life with Yuda, adult, work in the factories, with the street-sellers, tough? His loyalty to Yuda? His attraction towards his wife, their discussions? The relationship with Rita, her son, getting the money, leaving San Paolo, the sexual relationship? His not going with her, loyalty to Yuda? The man from Taiwan, the raids and the jobs, the factory? The deals to get Yuda out of prison, the confrontation with Coelho about the money? Getting the money? The fight with the two gangs, the deaths of his associates? His friend, the friend’s son, surviving? His hiding with the son and the wife? The Mafia thugs, their battles? Deaths? The flood, the ship and its explosions, his going into hiding, the child? Going to the jungle, the confrontation with Yuda, his amazement at his death? His future?

8.Coelho, the corrupt Brazilian, general, politician, gambler, seeing him in action, mediator, getting the money, the double dealings?

9.The politicians, Brazilia, knowing what was going on, wanting to get control, the international pressures? Using the police?

10.Yuda’s wife, her role in the club, singing, her love for her husband, the discussions with Kirin? Her being humiliated by the Mafia types in the club, finishing the song? Rita, stripping, the prostitution? Her wanting to get out for her son? The discussions with the other women?

11.Mario, the ships, the impounding, wanting fifty percent, the brutal killing?

12.The man from Taiwan, suave, man of the world, business?

13.The end in the jungle – and the comparisons between the jungle of the plastic city and the jungle of the Brazilian borders?

35 RHUMS (35 SHOTS OF RUM)

France, 2008, 92 minutes, Colour.
Alex Descas, Mati Diop, Gregoire Colin, Ingrid Caven.
Directed by Claire Denis.

35 Shots of Rum is very different from most of Claire Denis’s films. With her long and strong interest in Africa, she made Chocolat in the 1980s. During the 1990s she made some humane dramas in France. However, during the 21st century her films have varied: life amongst the troops in Jibuti in Beau Travail, Paris life in Vendredi Soir and the rather incomprehensible but beautiful L'Intrus.

This film is much more straightforward. It is also very warm and humane. In fact, it is rather sweet.

Claire Denis still continues her interest in Africa, this time focusing on migrants from Africa who live and survive in Paris. The central character is a train driver and the film opens with a very long segment of watching the trains in the Paris system. His daughter is a student of economics at the university. They live in an apartment block where there is an eccentric and rather isolated young man (Gregoire Colin) and a taxi driver who is very fond of the train driver. Other characters include a train driver who has to retire, finds it very difficult, kills himself. This is a grim note which gives a strong sense of reality to the otherwise warm presentation of human relationships.

The film captures much of the atmosphere of the city of Paris, is very attentive to detail of life in the apartment, the strong relationship between father and daughter, the father wanting the daughter to know that she is free to leave home whenever she wishes. They also make something of a pilgrimage to Germany to the family of her mother and her mother’s grave. The ending is particularly understated – with a nice symbolic gesture of showing two rice cookers (one of which appeared at the beginning and audiences may think has disappeared altogether).

1.The title of the film, its meanings, Lionel and celebrations, Rene’s retirement and his not drinking the thirty-five shots, the ritual at the end, the wedding? Thirty-five shots for Josephine’s wedding?

2.The views of Paris, the opening and the trains, day and night, the rail lines? The trains themselves, the passengers? The apartment block, the apartments, Lionel and Josephine’s, Gabrielle’s, Noe’s? The interiors, the different styles of the apartments, the rooms? A sense of place, a sense of the people? The bars, the streets, the rain? The musical score and its mood?

3.The introduction to Lionel, watching the trains, his age, African background, motorbike, Josephine at home, the father-daughter relationship, the love, the meals together, the ordinary details of life, showers, cleaning? Lionel at work, the train driver and these scenes? The farewell to Rene, the party, not drinking the thirty-five rums, Rene’s death on the tracks and his grief? Gabrielle and the friendship, the past, not encouraging her? Wanting Josephine to feel her freedom? Noe and his being alone? Lionel liking him? Going to the concert, the rain, the breakdown, the bar, his dancing with the woman, spending the night? The visit to Germany, the background story of his marriage, his wife’s death? His mother-in-law and the family? His going to the grave with Josephine? The wedding, getting dressed, the finale with the rice cookers?

4.Josephine, her age, on the train, at home, cooking, a loving daughter, at class, the discussions about economics in Africa and debt, her studies, jogging with Noe, the bond between the two, her working in the record shop, Reuben and his approach, her response? Going to the concert, the breakdown, dancing with Noe, sitting down? Her father going with the woman, Josephine’s anger, vigorously cleaning the house? The trip to Germany, talking with her relations, talking German, the grave? The end and the wedding?

5.Gabrielle, taxi driver, her passengers, conversation? Her relationship with Lionel in the past, Josephine finding her note? Her being frustrated? Going to the concert, the car breaking down, in the bar, her silence afterwards because of Lionel? Happy at the wedding?

6.Noe, enigmatic, travelling, his work, his apartment, jogging, sharing things with Josephine, the concert, the dance, the possibility of going overseas, the happiness of the wedding?

7.The students, the discussions in class, Reuben and his approach in the shop?

8.Rene, age, his reaction to leaving, the celebration, going to the bar, talking, travelling with Lionel in the cabin, his death on the tracks?

9.The African themes, African migrants, Africans in France?

PUCCINI E LA FANCIULLA

Italy, 2008, 84 minutes, Colour.

Puccini e la Fanciulla is a short episode in the life of composer Giacomo Puccini. In 1908-1909, he was composing The Girl of the Golden West. The music from this opera features throughout the film, played by Puccini, illustrating his composition.

The film tells the story of a young servant, Doria, who is used as an intermediary by Puccini for his mistress. However, she comes under suspicion from Puccini’s jealous wife and his permissive daughter. They misunderstand the situation, create blame for Doria, have her hidden away. When she is allowed out, she tries to go to communion but the parish priest refuses. He has previously condemned her. Finally, she takes poison and over a period of five days finally dies. An examination of her by the doctor after her death finds that there was no guilt.

What is of interest is that the film is very much like a film of 1908-09. It uses the method of silent films. However, letters from various characters are read aloud. There are some whispers from characters. However, the acting is of the silent film style, the characters having to communicate by gestures and body language. This is done very effectively. The film is beautiful to look at, especially the villa and the lake. With its musical score, it actually resembles almost an antique from the beginning of the 20th century.

The film is an interesting anecdote, the background for Puccini, life in Italy at the beginning of the 20th century, morals and ethics of the period.

1.Interest in Puccini, his music, his life, background?

2.1908-9, the Puccini villa, the lake, the woods, the beauty, the countryside, the hotels? Paris?

3.The musical score, The Girl of the Golden West? Other classical music? Puccini at work, composition, performance?

4.The style of the film, silent, the reading aloud of letters, the camerawork, movement, fixed camera, high and low angles? The acting style without speaking? The effect of watching a film made in 1908-9?

5.The information about Doria, the drama to illustrate her life, her death, the reasons?

6.The focus on Doria, her opening the rooms, greeting the guests, her work for the family, her place in the family, her age, innocence? Carrying the notes for Puccini? Her relationship with Elvira? Seeing Fosca and her being with her lover? Elvira watching her, assuming that Doria was guilty? The Christmas gift? Her going back, Rodolfo and his anger, violence? Giulia and her care for her? Her being locked in the room? The notes through Giulia? To Puccini, talking about what had happened, about Elvira beating her and humiliating her? The priest and his condemnation? The final letter, her wanting to go to communion, refused, taking poison, found to be pure? Fosca and her resentment, the information about Fosca and her scandals, the mother and her past scandals, Doria as scapegoat?

7.Puccini in himself, his reputation, his wife of twenty years, the past scandal, his own liaisons, with Sybil in Paris, her singing his music? With Giulia? His place in the family, his reconciling with his wife? Rodolfo and his violence, getting him the job in Genoa? Emilio driving him? Going to Paris, the letters to Sybil? His letters from Doria, the end? The type of living, the era?

8.Fosca, her relationship with mother and father, her lover, her children? Petulant with Doria? The letter and the scandals? Her husband’s threats?

9.The mother, the mistress of the house, her anger at her husband, anger at Doria, following her? Reconciliation with Puccini? Her becoming more paranoid? The threat of the scandals?

10.Sybil, the opera singer, mistress, with Puccini in Paris?

11.The servants, Emilio driving the car, Rodolfo and his attack, getting the job in Genoa? The family’s gratitude to Puccini? Giulia and her singing?

12.The Catholic church, the priest, his condemnation, refusing Doria communion?

13.The owner in Genoa, the background photo, the development of the 20th century?

14.A 19th century story – as the 20th century began?

BURN AFTER READING

US, 2008, 97 minutes, Colour.
George Clooney, Frances Mc Dormand, John Malkovich, Tilda Swinton, Richard Jenkins, Brad Pitt, David Rasche, J.K. Simmons.
Directed by Joel and Ethan Coen.

After the grim excellence of No Country for Old Men, what would the Coen Brothers do next? They haven't taken very long to show us: a Washington DC drama that moves into comedy that revels in spoof. And most audiences are going to find it very funny indeed. Who would have that (and this does not spoil film viewing) that a final scene between two supporting actors talking in an office would be so hilarious?

George Clooney is back in a daft character, after working with the Coens for O Brother Where Art Thou and Intolerable Cruelty. Frances Mc Dormand is back (she is Mrs Joel Coen) and has worked for them often, most memorably in her Oscar-winning turn in Fargo. There is also a sharp-tongued angry Tilda Swinton, a soul-searching Richard Jenkins and a disillusioned CIA operative played with zest by John Malkovich. The advertising has focused on Brad Pitt but he is in a supporting role - nevertheless he steals the film with his very funny characterisation of a rather limited-witted assistant at a gym, working with McDormand? for Jenkins. His look, his body language, his behaviour contributes to a performance well worth seeing.

In fact, all the cast are worth seeing, Clooney doing some dumb things, Frances Mc Dormand on her high horse to raise money for four bouts of elective body improving surgery, Malkovich at this wit's end.

You wonder at the opening how a firing at the CIA, a Treasury worker and his children's story book writing wife and three characters at the gym could possibly come together, but come together they do and the plot becomes more and more entangled and enjoyable.

There is slapstick and farce as well as witty (if too often peppered with swearing) dialogue. This is especially the case with J.K. Simmons as the CIA head (really doing a repeat of his editor role in Spiderman) but, with perfect timing, he sends up the world of espionage, Washington decisions and responsibilities and cover-up.

The Coens have done it again.

1.The Coen brothers’ films, their skills, writing, directing, editing? The blend of the serious and the humorous? The intricate plotting? Ingenuity? Verbal wit?

2.The title, expectations, the secret agencies, espionage, messages? The irony of the CD and its contents, its being used, opening up the world of espionage?

3.Washington, DC, the city, the atmosphere, government offices, the agencies, the departments, the interiors of Langley? Homes, gymnasiums, embassies? The exterior sequences? The parks? The atmospheric score?

4.The disparate worlds of the CIA, the sports gymnasiums, Treasury Department and the writing of children’s books? The links, the connections, the intricacy and the finale?

5.The opening, the global view of Earth, the world, focusing on Washington, and the film leaving the same way?

6.The verbal humour, the wit, characterisations, interchanges, the dumb humour, the contrast with the irony, clichés and spoofs?

7.The opening with the corridor, Ozzie going to the office, the meeting, the head, his being followed, the Serbian desk, his information, his protests about its reliability, the Mormon saying he had a drinking problem and his retort? His attempts to tell Kate, her wanting him to buy the cheeses, the rationalisation that he was resigning rather than being fired? The truth about his drinking? His deciding to write his memoirs – and Kate’s derisive laughter? Telling his father on the yacht? Dictating the memoirs and his being interrupted? The Princeton reunion, his going, the raucousness, the singing? The loss of the disc, Chad’s phone call, the night, Kate’s reaction? His anger, his attitude towards the two as fools? Going to the meeting, his hitting Chad and making his nose bleed? The chase, Linda and her crashing the car into his? The growing anger, his going to the yacht, watching television, doing the aerobics, getting strength, deciding to begin again, coming home, finding Ed in the house, the confrontation, bashing him, the chase onto the street? His condemnation of Ed and the others and his despising of them? The irony of his being shot by the agent?

8.Kate, the British doctor, brittle personality, demands about the cheese and not listening to Ozzie, the party, her relationship with Harry? The issue of telling Sandra, her despising her? Her laughing at Ozzie and his ideas? The meetings with Harry, at the house? Their being followed? Her going to the lawyer, the intricate discussions, the pomposity of the lawyer and his associations, his advice, getting her to spy and getting the financial situation, the possibilities of divorce? Access to the computer, getting the files? Seeing her at work, the child refusing to open its mouth and her demands?

9.George Clooney as Harry, the beard, clothes, dumb? Working for Treasury? The issue of the goat’s cheese and other foods, his allergies? The sexual relationship with Kate, his talk? His relationship with his wife, the writing of the books, her going on trips? The tours, the phone calls? The irony of her getting a private detective on him? His confronting the detective, the detective’s derisive comments to him? His sexual liaisons with other women, the patter being the same? His building the phallic chair in the basement? Internet dating, waiting for Linda, going to the restaurant, the jokes about the food, laughing at the movie, the sexual encounter? His lies to her about his marriage, about moving out? The relationship with Linda, developing? Her asking his help about Chad? The irony of the shower sequence, Chad in the closet, his killing Chad, disposing of the body? His fears about detection? His need for exercise? His running? Linda and the discussions, his paranoia about being surrounded, going to the airport, going to Venezuela?

10.His wife, going to Seattle, on the television, the spoof of television programs, her reading the story, the interruption, Dermott Mulrooney being interviewed (and seeing him in the film excerpt)? Her having a lover, the detective for her husband?

11.The gym, its style, its range of clients, the exercise paraphernalia? Ed, managing, his showing Linda the photo, his having been an orthodox priest? Linda and her work, friendly, her relationship with Chad and his jobs at the gym? Ed and his concern, the disc, wanting out, the discussions with Linda, her not picking up that he was in love with her, his decision to go to Oz’s house, the search for data, the confrontation, his death?

12.Linda, meeting her with the examination by the doctor, the surgery? Her reasons, PR, her consciousness of her body, her age? The discussions with the doctor? The issue of money, the phone calls (and her having to speak in English)? The refusals? Her job at the gym, her friendship with Chad, the disc? The decision to phone Ozzie, the demands for money, the plan, the discussions on the phone and his reaction, the meeting, Chad’s blood nose, the chase and the crash? Their going to the Russian embassy, the parody of the image of the embassy, the agents, the talk, the disc? The Russians getting in touch with the CIA? The phone calls, her return, the disc having no value, her being ousted? Chad, the plan for him to go to Ozzie’s? His disappearance, her worry, talking with Ed, talking with Harry and his reaction? The government arrest, her finally getting the money for the surgery?

13.Brad Pitt as Chad, dumb, his hair, clothes, his work at the gym, the iPod, his musical movements, his inadequacy with words? Finding the disc – and Manolo the attendant and his repetition of finding it? Ed’s reaction, Linda’s, the plan, getting the information about Ozzie’s address, his handling of the phone call and the comedy, the meeting, his being hit, the bleeding nose, on his shirt, going to the embassy, going to Oz’s house, Harry there, the shower, hiding, his death in the closet, his body in the bay?

14.The CIA heads? The discussions, deadpan, keeping the FBI out, trying to avoid problems, glad that the body was disposed of, letting Harry go to Venezuela, giving the money to Linda, that being merely a detail? The final conversation between the two – and the hilarious ending in terms of responsibility and cover-ups?

15.Serious themes – but well developed and explored via humour and laughter?