COLOR OF THE CROSS 2: THE RESURRECTION

US, 2008, 72 minutes, Colour.
Jean -Claude La Marre, Raquel Herring, Gerald Webb, Alysha Mallory.
Directed by Jean- Claude La Marre.

The reactions to Color of the Cross were mixed. Some alarming condemnations of making Jesus black can be found on the Internet Movie Database. They come from bloggers. These commentators do not seem to be aware of the tradition of adapting the figure of Jesus to the culture of those re-telling the story. In the 20th century, especially as a reaction against the white representations of Jesus and Mary, an abundance of Jesus images and Madonnas could be found, aboriginal Madonnas, Japanese Madonnas with local features and garb – holding the baby Jesus similarly dressed.

There were also vehement comments about the liberties taken in the screenplay in diverging from the Gospel texts. The comments on moving away from Gospel detail were just as strong Color of the Cross 2: The Resurrection.

The Resurrection opens with the agony in the garden and Jesus severely criticising Peter's inability to pray with him. During the credits there is a note that Yeshua is a radical intepreter of the Torah. In the background are voices recapitulating events of Yeshua's life. As the film goes on, especially in the crucifixion sequence, shown at quite some length, Jesus is tied by rope to the cross, not nailed. He is alone (although reference is made to the two other men crucified). There is no one at the foot of the cross. His mother, Mary, returns home to find Joseph and her two sons, James and Jude, arguing whether Jesus was really the Messiah or had deluded himself, referring to 132 texts from the Torah that he had to fulfil. Mary challenges them by reminding them that Yeshua had given to them land that was his by right. Later, on the road to Emmaus, the disciples encounter a wise man who opens their eyes to the resurrection.

Jean -Claude La Marre's Jesus is black but there is less emphasis in the screenplay on race as a political issue. On the cross, he is bearded. Risen, his head is shaven and he is beardless.

The running time of the film is comparatively short but there is quite some repetition from the first film. Jesus rises forty minutes into the film.

However, the writers, including La Marre, have drawn on many texts have a variety of characters (Apostles, priests and pharisees) quote and explain them. Mary Magdalene offers a voiceover commentary as well as a flashback to Jesus' kind treatment of her. Pilate features with the priests and the tomb guards and remarks to his wife who says sheknew him that he wished he had washed his hands of the whole affair.

Judas features quite strongly asdoes his killing himself and rather condemnatory apostles coming across his haning body.

The resurrection is suggested by some had movement under the burial cloths, then an earthquakeand sight of the stone rolled away. Many of the Gospel resurrection texts are used: the burial of Jesus by Nicodemus and Joseph of Arimathaea; the fear of the soldiers, Magdalene's enounter with the angel at the tomb and with Jesus, much discussion among the Apostles about what they should do, their fears and Thomas's disbelief. There are warm scenes where Yeshua's mother and the Magdalene converse.

Production values and re-constructions are limited but often effective. During the final credits, the director takes the opportunity to go through key scenes yet again.

1.In the tradition of Gospel films? Comparisons?

2.The intentions of the film, to recreate the Gospel scenes, to highlight the suffering and death of Jesus, the resurrection?

3.The racial themes? Jesus and the disciples as black? Mary and Joseph? The characters who were white in the film, who were black?

4.The changing of the Gospel texts, Mary and her sons, the relationship with Joseph? The road to Emmaus and a different person explaining the resurrection? The aftermath of the resurrection, the disciples in Galilee, their issues amongst themselves?

5.The portrait of Jesus, Yeshua, the film opening with the agony in the garden, the close-up of Jesus, the encounter with Judas, his confrontation with Peter? The insertion of the sequences of the Passion, the trial? The long take of the crucifixion? The flashbacks to Jesus and his ministry, to the last supper and the Eucharist? To the encounter with Mary Magdalene? His relationship with his mother?

6.The build-up to the resurrection, Mary Magdalene, the disciples, the stone rolled away, the empty tomb, Mary’s encounter with Jesus? Jesus and the moving of the cloths, his appearing to people?

7.The range of characters, Pilate and his wanting to wash his hands, his wife and her intercession for Jesus? Cleopas and the disciple on the road to Emmaus and their return? The various apostles, their discussions amongst themselves, fears, scepticism, their reaction to the appearances of Jesus?

8.Mary Magdalene, her background, the emphasis on her character? With the apostles after Jesus’ death, the resurrection experience, her being an apostle of the resurrection?

9.Nicodemus, Joseph of Arimathea, the plea before Pilate, the burying of Jesus?

10.Mary Jesus’ mother, her family, the squabbles between James and Jude, the praise of Jesus for his kindness to his brothers? Joseph and his concern?

11.A variety of Gospel texts, Gospel interpretations? The African American Jesus?

CROSSED OVER

Canada, 2002, 100 minutes, Colour.
Diane Keaton, Jennifer Jason Leigh, Maury Chaykin, Nick Roth.
Directed by Bobby Roth.

Crossed Over is based on a book by Beverly Lowry who is portrayed in this film by Diane Keaton. The book is called Crossed Over: A Murder/A Memoir.

Beverly Lowry and her husband Ethan (Maury Chaykin) are mystified by the death of their son, Peter (Nick Roth) who had been in a rebellious mood.

As part of her coming to terms with the death of her son, Beverly Lowry reads about Karla Faye Tucker who is in prison for murder. She goes to visit her. The visits are tense but gradually a friendship develops.

The film is a portrait of a grieving mother, her relationship with her supportive husband who becomes desperate at her behaviour at times. It is a portrait of a young woman who had very little chance to grow up well with her mother, finding herself in prison, coming to terms with a born-again faith, engaged to the chaplain. However, she is still a victim of capital punishment – and the film shows actual George Bush talking about her death and the maintenance of the death penalty.

The film is in the vein of Dead Man Walking.

1.The significance of capital punishment? The protests against it? This film’s contribution?

2.The atmosphere of the Lowry home, ordinary life? The contrast with the prison, the visiting room, the cells?

3.The film based on a book? The characters and their real names rather than fictionalised?

4.Beverly Lowry, her relationship with Ethan, her relationship with her son? The flashbacks to his rebellion? Manner, dress, hair? The mystery of his death? Beverly and her regret that she did not even hear the ambulance? Her preoccupation with her relationship with her son, her regrets?

5.Her reading about Karla, going to visit her in prison, the initial discussions, becoming upset and leaving? Her decision to return? The conversations with Karla, getting to know her? The effect on Beverly? Her being better able to cope with her son’s death? Her becoming involved in Karla’s life, the minister, the marriage? Her discussions with her husband, his exasperation? The petitions against capital punishment? Karla and her condemnation? Her going to her death? Beverly and Ethan not allowed in?

6.Karla, her character, her background, her defence of her mother? Her poor education and opportunities? The murder? The husband of the victim and his anger at Beverly and Karla? Karla in prison, the confrontations with other prisoners? The minister, the marriage? Her going to her death? The lethal injection scene?

7.The minister, his talk about the pageant and the little boy, wanting to be the centurion, wanting to stay in costume with his spear – in order to save Jesus? The sequence as an indication of Karla’s conversion? The plan to marry the chaplain? His support at her death?

8.Capital punishment, President Bush, the excerpt from his speech? The people in support of capital punishment? The husband of the victim and his confrontations with Beverly? His presence?

9.The effect on Beverly and Ethan Lowry, Karla changing their lives?

10.Audiences and their response to capital punishment, for and against? How influential this film in establishing a point of view?

THE DIAMOND QUEEN

US, 1953, 80 minutes, Colour.
Fernando Lamas, Arlene Dahl, Gilbert Roland, Shelton Leonard, Michael Ansara.
Directed by John Brahm.

The Diamond Queen is one of many such films of the early 1950s. They were small colourful adventures, very American in stars and tone – but designed to lure audiences away from their television sets.

This one is not particularly good. Fernando Lamas is the son of a jeweller with responsibility to find a diamond for the crown of Louis XIV and his coronation in 1659. Gilbert Roland is a French baron. Together they go to India to find a diamond – and there meet the Diamond Queen, the glamorous Arlene Dahl, who is betrothed to the mogul.

The predictable adventures happen. The falling in love also. The film is pleasant in its colour photography, atmosphere of India – which looks remarkably like the landscapes of California.

Fernando Lamas and Arlene Dahl appeared in Sangara together and married.

The film was directed by John Brahm, German-born director who directed a number of B-budget and supporting films and, at this time, directed The Miracle of Our Lady of Fatima.

1.The popularity of this kind of action adventure in the 1950s? Now?

2.Californian location photography for India? The atmosphere? France, India? Costumes and décor? Musical score?

3.The French setting, Louis XIV, the coronation, the jeweller and his heart attack, the diamond? His son and the baron, the father going to jail? The son and his proposal to go to India? The baron agreeing? The map and their voyage?

4.The film’s version of India, exotic, costumes, the buildings? The dances? The Diamond Queen, seeing her first, the waterfall? Their falling in love with her? Her court, her being saved? Her indebtedness to the French? Trying to get a diamond for them?

5.The mogul, the betrothal to the queen? The political marriage? The journey to see the mogul?

6.The mogul, his general? Their wanting the grenades? Jean-Baptiste? and his secret? The trade for the diamond?

7.The adventures of Jean-Baptiste? and Paul, the plans, the relationship with the queen? Their diplomacy? Their shrewdness? The confrontation with the mogul, the general? The grenade, the fight, the cliff fall?

8.The happy ending, the getting the diamond, the story of the Hope Diamond? Sailing back to France?

DECISION AT SUNDOWN

US, 1957, 77 minutes, Colour.
Randolph Scott, John Carroll, Karen Steele, Valerie French, Noah Beery, John Archer, Andrew Duggan, John Litel.
Directed by Bud Boetticher.

Sundown is a town rather than a time of day.

This is one of five collaborations with Bud Boetticher and Randolph Scott in the late 1950s (Seven Men from Now, Buchanan Rides Alone, The Tall T, Comanche Station, Ride Lonesome). John Carroll, former musical and comedy star, is the villain. Noah Beery is the sidekick.

The film is different insofar as it is not an action drama. Rather, Scott portrays an embittered Texan after the civil war who comes to a town in the north to avenge the death of his wife. The film takes place over the day. John Carroll is Tait Kimbrough who has taken over the town of Sundown and has people in his power including the sheriff.

Scott plays an embittered man right throughout the film – he leaves the town embittered. While vengeful, his does not understand the true nature of his dead wife while his sidekick and the local doctor try to explain it to him.

The English actress Valerie French is Kimbrough’s girlfriend. Karen Steele is his intended wife.

The film is a variation on the High Noon theme – with the villain this time looking for help throughout the town and eventually the town turning on him. The shootout is limited – the film rather non-violent. While the sidekick is murdered by the sheriff, the villain is shot by his government, only wounding him, so that they will be allowed to leave the town and begin a new life.

1.A different western? The variation on the High Noon theme? Vengeance?

2.The locations, colour photography, the landscapes, the town? The musical score?

3.The opening, Bart Allison on the stagecoach, his gun, getting off, Sam coming to get him? Their riding through the countryside, going into the town? Sam as always hungry? Bart as relentless?

4.The purpose of the journey, Bart and his memories of his wife, Mary? Sam trying to tell him about Mary’s true nature and Bart’s bad reaction? The doctor later telling him the truth? Ruby telling him the truth?

5.The civil war, post-civil war period? Bart and the vengeance eating him up? His vow to destroy Kimbrough? Coming into the town, having the shave, learning about the wedding, going to the church, intervening to protest? Drawing his gun? His escaping to the stables? Holed up there?

6.Kimbrough, power, attitude towards women, Ruby’s support, marrying Lucy? Somerton in his power? The deals? The church, not wanting Ruby to go, her sitting in the front seat? The confrontation with Allison? The postponed wedding, trying to have it in the hotel? His trying to rally people, sending Somerton to deal with Allison and give him money? Delaying the confrontation? The townspeople turning against him? The sneers of the barber? The comments of the bartender? The justice of the peace and his not wanting to have a gun? Morley and his influencing the people?

7.Bart, in the stable, allowing Sam to go out, Sam being shot, Bart and his vengeance? The discussions with the doctor? Allowing him in to tend the shooter? His going out, the street confrontation? His disappointment in Kimbrough being shot? Drinking in the bar, leaving the town embittered?

8.The solution, Ruby and her intervention? Going off with the wounded Kimbrough? Lucy and her befriending the doctor?

9.The supporting characters in the town, the sheriff in the pay of Kimbrough, shooting Sam? The bartender and the doctor and their stances against Kimbrough? Somerton, Morley Chase and his influence on the people? The Reverend Zaron and the ceremony, his fear of drink and guns? The drunken barber?

10.A satisfying western with a difference?

PEDRO

US, 2008, 90 minutes, Colour.
Alex Loynaz, Justina Machado, Hale Appleman, Matt Barr, Da Juan Johnson.
Directed by Nick Oceano.

Cuban-born Pedro Zamora was an activist in the early 1990s helping to make Americans more conscious about the reality of (and the public phobias and ignorance about ) living with HIV/AIDS. He died in 1994 at the age of 22.

Since the acclaim for Milk, its writer Dustin Lance Black, has received a great deal of attention. He co-wrote this story and wrote the screenplay for Pedro. As with Milk, another gay activist, this story tells the audience from the outset that its central character dies. In the light of this information, the film is able to go back to highlight the last nine months of Pedro's life as well as further flashbacks to his short life.

Alex Loynaz is pleasingly effective as Pedro, showing him as an exuberant young man, a persuasive speaker. He is most effective in the latter part of the film where Pedro is dying from a debilitating brain disease which prevents him from speaking.

Pedro, his parents, a brother and a sister were among 125,000 Cubans permitted to leave Havana in 1981. The family settled in Miami. As a teenager, Pedro became aware of his sexual orientation. He also became infected with the AIDS virus. He was urged to speak to high school students and built a reputation as a strong communicator, being appointed to committees and finally acknowledged by President Clinton. His family supported him, especially his sister Mily who became his alternate mother after his mother, whom he loved dearly, died of cancer. She is warmly played by Justina Machado.

In the last year of his life, Pedro took part in a Reality TV program, sponsored by MTV, who also produced this film. The first half of the film re-enacts many episodes of the show, enabling Pedro to explain to the housemates (one of whom, Puck, is one of the most offensively arrogant characters you are likely to meet) and to the film audience, some of the basics of AIDS and living with AIDS.

The film also re-enacts an informal union and rings ceremony between Pedro and fellow activist, Sean Sasser. As Pedro is dying, the video of the event is played for Pedro's father, brother and sister. And at the end of the film, the actual video of Pedro and his partner is shown as a tribute.

An effective and affecting portrait of a young man who decided to do something positive with his short life.

1.A film based on real people and events? Moving?

2.Audience response to HIV-AIDS? The reaction in the 80s and 90s? Later? The reality of AIDS, illness, physical and psychological effects? Being infected, transfusions, drugs, sexual encounters? The limitations of treatment? Public opinion, opposition (and religious groups demonstrating with placards, ‘God hates you’)? The 21st century and the AIDS epidemic, the final statistics at the end of the film?

3.The screenplay: information about Pedro’s death, going back nine months, the reality TV show and the episodes, the flashbacks to Pedro’s earlier life? The finale with his dying? The cumulative impact?

4.The introduction, Pedro at the hotel, the phone, the MTV producer, his collapse, the context of the memoir?

5.Pedro as a little boy, on the beach in Cuba, his mother, the Santeria rituals, the anklet, the help and the predictions about his helping others? His growing up in Cuba? 1981 and the people allowed to leave the island, at the fence, the guard, refusing to let the sons of military age go to Miami, mother and father, sister and brother and Pedro? Miami, at home? With his mother, talking about myths? The yellow dress? His father’s reaction? His mother, her cancer, the ritual of the glass of water under the bed signifying death? Her dying? Pedro’s reaction, wanting to remember her as she was? Mily and her memories, her friends, the letter, Pedro as discovering his sexual orientation, the jogging, Mily and the article, his arguments with her? At school, the infection? His wanting to give blood, the diagnosis, his sitting on the beach weeping?

6.His being urged to help, his speech to the schoolkids, his stories, frankness, the kids and their ideas of living with AIDS? The campaigns, on committees, going to Washington, San Francisco?

7.The MTV reality show in the 1990s, his agreeing to participate and live in the house, MTV and producing this film? The photographing of the young people arriving, introducing each of them, Pam, Rachel, Pedro, Judd, Mohammed? Pak and his bike? The crew being present? Pedro and his opening the album, explaining his situation to the others, Rachel and her negative reaction, Pak and his criticism? Pak and his nerves, fingers, the Nazi t-shirt, the clash with people, his asserting himself, irrespective of others, the reaction to his arrogance? The discussions with Pedro? Two divas? The vote, Pak going?

8.Pedro and Judd, their discussions, friendship, Pedro sweating in the night, Judd helping him? Pedro agreeing that the cameras could follow him to his death? The argument with Rachel? Judd and his interviews and memories? Pam and the relationship? Judd and his marriage to Pam, inheriting Pedro’s work, writing the book about him?

9.Sean, the activist, the bond between the two, the meals, the date? Pedro going out of the house to be with Sean? The ceremony of union, the rings? Replaying this for Pedro’s family before he died? The actual video shown in the end credits? Sean’s support and love for Pedro? The family not wanting him to be present? Pedro asking?

10.New York, the illness, the brain disease, the treatment, going to Miami, his not wanting the special treatment, Sean arguing with Mily? Mily and her care? The ousting of Sean, the father and the brother and their hostility? Mily and her care, bathing him, calling Sean back?

11.The phone call from President Clinton, his arranging the brothers coming from Cuba, the family reunion before Pedro’s death?

12.Pedro, unable to speak, weak, the vision of his mother, telling Mily to put the glass of water under the bed?

13. The tribute to him at the end? The replay of the real video of the ceremony? The actual photos? His achievement and influence?

CHIN YAN (THE BEAST STALKER)

Hong Kong, 2008, 109 minutes, Colour.
Nicholas Tse, Jingchu Zhang, Nick Cheung.
Directed by Dante Lam.

A first film by a poetically named, Dante Lam. While he does have a strong visual eye for some poetics, they tend to be the choreography of chases, car and crashes as well as action fights.

There is now a substantial tradition for Hong Kong police thrillers, established by such veterans as John Woo, Ringo Lam, Tsui Hark and Johnny To. It looks as though Dante Lam wants to be part of the next generation in this tradition.

What distinguishes this film from others in the genre is the accidental death in a shoot-out crash of the young daughter of a prosecutor and the abduction of her other daughter to blackmail her into destroying blood sample evidence in her case. Tong, the young abrasive policeman who was involved in the accident takes on the role of rescuer of the little girl of whom he has become fond.

There is quite some tension and audiences will be fearful of the fate of the little girl.

Not a bad addition to the genre.

1.The tradition of Hong Kong police thrillers? Action? The classics of the 1990s? The new generation?

2.Hong Kong City, the police, the streets and buildings, the courts? The abandoned warehouses? Realism? The pulsing score?

3.Crime in Hong Kong, the gangs, the bosses, thugs, assassins? Seeing the police in action?

4.The police, their work, training, tensions amongst themselves? The opening and the breakfast discussion, going on the case?

5.The pursuit of the criminal, the entry, the guns, chases, car crashes, injuries, the cars flipping, the little girl killed in the boot of the car, the mother’s grief?

6.The explanations coming later in the film, the presence of the mother and daughter, the end explanation of Hung and his wife present at the accident?

7.Sergeant Tong, in charge of the group, abrasive, young and impetuous, roaring out his cousin, Sun and his injuries and his concern? His decisions in the car chase, the death of the girl?

8.The case, Anne and her being the prosecutor, the officials deciding that she should go ahead? The evidence, the kidnapping of her other daughter, the message to destroy the blood sample? Anne in herself, her relationship with her husband, the clashes, her not being able to tell him about the abduction? Her fear, love for her daughter? Her antipathy towards Tong?

9.Tong, in action, three months after the accident, Ling and her drawing, his drawing with her, the abduction and his being present, the chasing of Hung, fighting with him? Knocked out? Trying to track Hung, the SIM card and the search in the garbage, the clue, the red neon reflection in the mobile phone photo? Sun, his injuries but his help, going to his cousin, the apology, getting the information? Anne not wanting him to pursue the case?

10.Hung, an assassin, the damage to his eyes, his stubbornness, the debts and the demands made on him to pay his debts, the abduction, his wife and the injuries, his care for her, her medicines? Taking Ling, imprisoning her, her resistance, knocking the pills, his not being able to see the colours, Ling helping him to put them in order? His taking her away, going to the desalination plant?

11.Hung and his orders, the doctor and his attempt to cut Ling’s hand? Saved by the phone, the bargaining for Ling instead of Hung’s wife? The wife, helping Ling? The ambulance? Hung taking over?

12.Tong and his character, his pursuit of the girl, persuading Anne, his cousin, Sun? The pursuit? Climbing the building with the neon light, finding Hung and Ling gone, going to the desalination plant?

13.The final confrontation, the fight, Ling, the material falling on her and smothering her? Tong helping, Hung going blind?

14.Hung’s wife, Anne and her anger, the wife helping Ling untie the ropes – and the flashbacks explaining the wife, her toughness, being in the car with Hunt, the accident?

15.The resolution, a satisfying end to this kind of crime, police and abduction thriller?

SOLO QUIERO CAMINAR (JUST WALKING)

Spain, 2008, 129 minutes, Colour.
Diego Luna, Victoria Abril, Ariadne Gil, Pilar Lopez de Ayala, Elena Anaya, Jose Maria Yazpik, Augustin Diaz Yanes.

A Spanish/Mexican co-production with stars from both countries led by Diego Luna and Spanish Victoria Abril and Ariadna Gil.

This is something of a routine crime thriller, the difference being that the central Spanish protagonists are four women, prostitutes who commit robberies. Their initial attempt fails through bad luck. The most forceful of them, Aurora (Ariadna Gil) is caught and jailed. However, her sentence is shortened and then repealed because of sexual favours for a corrupt judge. This is all masterminded by the older Gloria (Victoria Abril) who cares for her teenage son.

In Mexico we meet cold, dapper and ruthless killer, Gabriel (Diego Luna). He and his associates visit Spain. The boss, Felix (Jose Maria Yazpik) decides to marry one of the prostitutes, Aurora's sister, Anna, and takes her to Mexico (and a lavish wedding scene). The other three women follow. They want to avenge Felix's blithely brutal treatment of his wife. They steal is LaCie? computer back-up. They rob his safe – not without some violence to themselves.

This is the kind of film that could be called 'hot-blooded', Mediterranean and Hispanic in temperament (and temperature) and behaviour. At times this becomes more than a little absurd, especially Gloria's being stabbed, talking to her son on the phone as she bleeds and then staggering to his teacher's home to deliver an essay.

Carryings on in an amoral world.

1.The popularity of crime thrillers, the genre, the conventions? This film as different? The focus on the women?

2.The Spanish settings, affluence, ordinary lives, the clubs, the vault, police stations, prison? Mexico City, affluence, the world of crime? Violence?

3.The melodramatic action, the ironies of the screenplay, humour? Touches of the absurd?

4.The introduction to Gabriel, Mexico City, the cold shooting, his dapper clothes, walking away, calm?

5.The introduction to the women, the initial robbery, their skills, the men watching TV, the women and the flamenco dance, the crime almost a success, their being caught, the escape, Aurora being taken, beaten (and her later revenge by taking the baseball bat to the men)? Her being sentenced to prison?

6.Aurora as central, her relationship with her sister, her concern? The details of life in prison? Paloma as working for the judge, Gloria? The sexual favours to the judge, his shortening the sentence, Paloma later going as the schoolgirl, the judge repealing the sentence? Aurora in jail and determined to get out? Her relief?

7.The Mexicans, coming to Spain on business, tough, the girls and sex, Anna, Felix’s proposal? The killing of the businessman in cold blood?

8.The return to Mexico, the wedding, the theme and music of Pretty Woman? Felix in himself, the boss of the business, his relying for advice and friendship on Gabriel? The wedding, sending Gabriel to talk to the old lady, dealings with the Koreans? The killing of the Korean?

9.Felix, his brutal manner, brutal to Anna, Anna and her drinking, Gabriel rescuing her, Felix throwing her out of the car, the reaction of the women, Anna in hospital, finally turning off the support system?

10.Gloria and her son, domestic, at school, his writing the essay, Gabriel and his correcting it? The phone call while Gloria was dying? Gloria as tough, on the job, the set-up, stealing the computer, stealing the money? The fighting with the thugs? Her being stabbed, bleeding and going to the teacher, handing the essay in? Her death?

11.Paloma and her deals, betraying Aurora? Her work in the court, the judge, going to Mexico, with the men, the robbery, her almost being strangled, her going to look after Juan?

12.Aurora to Mexico, the sexual encounter with Gabriel, the set-up, tough, robbing the safe, the confrontation with the thugs? Fighting with Felix, Gabriel rescuing her, her walking away?

13.Felix and evil, the vengeance, the confrontation with Gabriel, his killing himself?

14.Gabriel and his attitude towards his father, the death of his mother, wanting vengeance, his being a professional killer, dapper, a go-between, his charm, persuading the old lady about the Koreans, with Aurora, the rescue, his being wounded, death?

15.A thriller in an amoral world?

THE PINK PANTHER 2

US, 2009, 92 minutes, Colour.
Steve Martin, Jean Reno, Emily Mortimer, Andy Garcia, Alfred Molina, Yuki Matsuzaki, Aishwarya Rai, John Cleese, Lily Tomlin, Jeremy Irons, Johnny Halliday, Geoffrey Palmer.
Directed by Harald Zwart.

Peter Sellers is Inspector Clouseau forever. Alan Arkin had a fling at the role in the 1960s. This is Steve Martin's second outing. The first did not particularly appeal.

Steve Martin has been re-making classics, re-doing Spencer Tracy as Father of the Bride and re-doing Clifton Webb in updated Cheaper by the Dozen movies. What he does as Inspector Clouseau is not create a character (which Peter Sellers did in The Pink Panther and A Shot in the Dark) but make his presence felt in bumbling pomposity, slapstick and continued mugging (not that Peter Sellers did not mug in the later Pink Panther films),

So, for older fans, Steve Martin could be a liability. For those not so familiar with Peter Sellers, Stave Martin has become Inspector Clouseau.

That said, Pink Panther 2 is a far funnier experience than might have been expected. The sight gags should raise some laughs and there are some witty lines. The cast helps a great deal. John Cleese does his thing as Inspector Dreyfuss and gets more screen time than he has had in more recent times. There are returners from the firs film. Jean Reno plays straight man to Clouseau and Emily Mortimer is the bespectacled librarian in love with Clouseau. The detective dream team is good with Andy Garcia as a suave Italian, Alfred Molina very British and Yuki Matsuzaki very Japanese. Bollywood star Aishwarya Rai arrives as an expert on crime. Clouseau is anything but politically correct concerning women, flirting and harassment and racial respect. So Lily Tomlin has some amusing scenes where she tries to educate Clouseau.

And who should turn up as a suave villain but Jeremy Irons, along with singer Johnny Hallyday?

The animated credits and Henry Mancini's familiar theme are, as always, welcome.

1.The popularity of the Pink Panther, over forty-five years? The popularity of Inspector Clouseau? Blake Edwards’ films? The cartoons? The classic Henry Mancini score?

2.The impact of Peter Sellers in the role, creating a character, absurd and pompous, pronunciations? The contrast with Steve Martin, mugging rather than creating a character? Caricature? Comparisons between the two actors?

3.The tradition of the comedies, the detectives, Inspector Dreyfus, mishaps, mispronunciations, Clouseau and his effecting the solution to the mystery?

4.The screenplay: characters, humour, wit, slapstick?

5.Steve Martin as Clouseau, his job with the parking, the medal that he received (and later stopping the bullet)? His pomposity, the interactions with Dreyfus, the recording equipment in the room and his smashing it, the dream team and his attitude? His regard for Nicole? The attraction towards Sonia? The flashbacks to Rome, the meal, his choosing the wine, the crash of the case, the burning of the hotel – and destroying it a second time? His unwittingly destroying evidence, putting his own fingerprints over evidence? His scaling Avellaneda’s house, the mishaps, running on the globe? On television, his interviews? The final solution of the case, his being shot? His wariness of Nicole and Vincenzo? The final and the marriage?

6.John Cleese as Dreyfus, his pompous style, his antipathy towards Clouseau, thinking he was in charge of the case, protecting himself with Clouseau and the parking, the destruction of the recording material? His guarding the Pink Panther? The dream team? The alleged solution, the dinner, the failure and the stealing of the Pink Panther?

7.Nicole as the librarian, spectacles, going to Rome, the burning of the hotel, Vincenzo and his attentions, upsetting Nicole with his comments about Clouseau’s attitude? Vincenzo fixing everything at the end, the marriage?

8.The dream team assembling: Vincenzo, his Italian name, romantic attitude, the pilot of the plane? Pepperidge and his very British style, the interchanges with Clouseau, the tutu at the end? Kenji, the Japanese, the experts? Their deductions? Hearing them in action?

9.Sonia, her late arrival, the book, the expert on the criminal, assisting in the case, charm, Clouseau and the attraction, the revelation and the information from the parking tickets, the stealing of the Pink Panther, of the other treasures? Her shooting the gem – and its being the fake? Clouseau and Ponton switching the gems? The flashback showing this?

10.The range of robberies, the opening of the film, the Shroud of Turin and other treasures – and Clouseau’s cavalier attitude, for example shaking the dust out of the shroud?

11.The humour of the papal scene, the pope and his ring, the stealing, Clouseau in the interview, wearing the papal robes, the gestures, going out on the balcony, the crowds thinking it was the pope, his falling over the balcony? The pope coming to Clouseau’s wedding?

12.Avellaneda, Jeremy Irons’ style, his exasperation, the visit to his home? At the restaurant? Johnny Halliday as the alleged criminal, his death?

13.Ponton, the straight man, his help, his exasperated wife, the kids and their coming to stay with Clouseau, the martial arts and all the slapstick comedy? Their participation in the finale?

14.The substitution of the Pink Panther, the shower as the fake was shattered? Dreyfus and his relief?

15.The credits, the animation of the Pink Panther – and Mancini’s score?

TATARAK (SWEET RUSH)

Poland, 2009, 85 minutes, Colour.
Krystyna Janda, Pawel Szagda, Jan Englert, Julia Pietrucha.
Directed by Andrzej Wajda.

Veteran Polish director, Andrej Wajda, has made many films since the 1950s, is now in his 80s. His vision is a touch melancholic, focused on illness and death, but his directorial skill is still very much alive.

This brief film has two stories in one. Adapting a short story by Krystina Janda about her cinematographer husband's terminal cancer and death, he has Janda herself present this memoir in a dramatic monologue. It is intercut into the film within the film, based on quite a different short story, in which she is playing the role of a middle-aged woman, a doctor's wife in a small town, who is charmed by a young man.

The title of the film in English is 'Sweet Rush'. It could be interpreted as the sweet rush of infatuated love the woman feels. However, it is the name of a water reed whose stems are used as decoration at the beginning of summer, at Pentecost, because of its distinctive odour.

As well, there is a 'realistic' scene as the actress becomes upset during the filming of a sequence where the young man is swimming with a bunch of sweet rush and gets into difficulties. The actress flees the location as the town now teems with rain.

Wajda has his character contemplate illness, time passing and death and the film, though brief and well-acted by Krystina Janda, is often moving.

1.Wajda, his career, over half a century, in his eighties?

2.A film about filming? The references to acting, Marta and her monologue? The references to Wajda himself, wanting the actress to work? The story of the cinematographer husband, his career and illness? The film dedicated to him? Krystyna Janda and her acting? The film of the river and the rush sequence, the actresses up set, running away in the rain? The questions being asked by the driver?

3.The monologue, the dark room, its atmosphere for a contemplation of illness and death?

4.The village, the doctor’s house, surgery, the town, the river, the bridge? Realistic atmosphere?

5.The musical score, the range of music, orchestrated, classical?

6.Krystyna Janda and her career, her cinematographer husband, his illness, her having to cope, her grief at his death, the meaning of his illness and death?

7.Marta, wife of the doctor, a good woman, her work, the x-rays, at home, the discussions with her friend?

8.Bogus, his friendship with Halinka, her leaving town? The encounter with Marta, the attraction, their talk, the discussions about books, his coming to borrow them? Marta going for the swim, seeing Bogus with Halinka on the bridge, her upset, leaving? His arrival, the talk, affectionate, going out to get the rushes?

9.The scene of the swim, his getting into difficulties, the actresses upset, the drowning, running in the rain, the car giving her a lift, her explanation?

10.The scene of Bogus’s difficulties, the underwater photography, her swimming, the rescuer’s coming, his death?

11.Themes of death as affecting Krystyna Janda in her own life, in the characters in the film?

END OF LOVE

Hong Kong/China, 2009, 95 minutes, Colour.
Chi Kin Lee, Guthrie Yip, Ben Yeung.
Directed by Simon Chung.

A slice of Hong Kong life and a familiar enough story.

A young man works in clothes sales and is picked up by a customer, caught with this man by his mother, ousted from his house. His mother, ashamed, leaps to her death from the apartment window.

The young man is gay and takes up the life of his new flatmate, drugs and prostitution, until a party is raided and he is sent to a Christian reform institution in the country, an evangelical house with strict rules, much Jesus talk and prayer, Pentecostal style. He becomes friendly with the ex-heroin addict and volunteer who is assigned to look after him. When he gets out, he goes to stay with this friend and his petulant girlfriend.

The potential for change is always there but life tends to be hard and old habits are difficult to kick.

What will now happen to the young man? What choices will he make?

1.A Hong Kong story, the focus on men, the reformatory, lives and problems?

2.The scenes of Hong Kong City, the cityscapes, the shops and apartments, the drug scene? The reform institute out in the countryside? Realistic? Musical score?

3.The title for each of the characters? For Ming and his choices for the future? For Yan and the end of his relationship? For Keung and his disillusionment with Jackie, his death? Jackie and her self-centredness?

4.The portrait of Ming, working in the shop, Yan as a customer, the come-on, the relationship, the mother seeing them, her suicide and Ming’s upset, leaving the apartment? Moving in with Cyrus, with his friends, the wealthy man, the rent boy, drugs, Yan and his pursuing him, the on-and-off relationship, Yan and organising the drug bust?

5.Ming and his sentence, driving to the institution, the head of the institution and his strict rules, the Christian perspective, prayer, grace before meals, praying in tongues? Keung and his being appointed to look after Ming? Making the noodles for him, talking, sharing the room, getting up in the night, smoking and the reaction of the head? Ming and the haircut? Burning rocks as punishment? The friendship with Keung, seeing him go?

6.Ming finishing his sentence, going to Keung, meeting Jackie, her offhanded attitude towards him? Work in the hair salon, the customers, the other workers, getting some money, paying the rent, the possibility of a new life? Jackie and her flirting? Keung and his upset, going back on the heroin? Ming helping him, his reaction to Jackie? Jackie leaving? Going to see Cyrus, wanting some more jobs, Cyrus being cautious about the police? Keung, the OD? The rescue of Ming on top of the roof?

7.Yan, his relationship with Ming, looking after his father, his brutality, Ming wanting to borrow the money, the break with Yan after the sexual encounter?

8.Cyrus, his way of life, being on remand?

9.Ming’s future?

10.Contemporary life for the young in Hong Kong, opportunities and lack of opportunities, Hong Kong and China? The Christian reform centre, only surface change? The background of drug-taking, sexuality, relationships?