RETURNING LILY (TEMPTED)

US, 2003, 100 minutes, Colour.
Virginia Madson, Lainie Kazan, Jason Momoa, Kieu Chinh, Andrew Mc Farlane, Brooke Harman, Mikhael Wilder, James Dean.
Directed by Maggie Greenwald.

Returning Lily is an emotional story set in Hawaii. Virginia Madson portrays a woman, married with two children, who had a surrogate mother in a woman from Hawaii. When she dies, she asks that her ashes be taken back for a healing ceremony in Hawaii.

The Hawaiian locations were actually filmed in New South Wales.

Virginia Madson brings her distinctive charm to the central role. Lainie Kazan is very subdued as the Hawaiian woman who turns out to be her mother. Model and actor, Jason Momoa, is the man who opens her eyes to the beauty of Hawaii. Andrew Mc Farlane plays the husband.

The film is pretty to look at, emotional to watch, interesting in that the central character discovers that the woman that she dislikes is her birth mother and the reasons for her being abandoned by her – and her husband’s family sending her away from Boston.

There are also some themes about children. The elder girl is fifteen as is the son of Jason Momoa. Problems about adolescence are raised – with solutions coming from family, understanding, listening.

The film was directed by Maggie Greenwald who directed such films as Song Catcher and The Ballad of Little Jo. The musical score was written by her husband David Mansfield (Heaven’s Gate).

1.A popular kind of story? For the television audience? Emotional?

2.The title, the focus on Lily, Emma and her task? The alternate title with Tempted – and the focus on Emma and Kala?

3.The opening in Boston: the tensions in the family, Mike and his being busy, contracts? Emma and her paralegal work, the demands, the alienation of Jamie, Neil and his intellectual approach to life? The news about Lily’s death? The message for Emma to take Lily’s ashes back to Hawaii? Mike seeing it as inconvenient? The children’s reaction? Her determination to go?

4.Emma, her age, background, her not having seen Lily for years? Her focus on her own life? Her sadness at Lily’s death? Kala meeting her at the airport? Her staying in Lily’s house? Meeting with Kehau, Kehau and her resentment towards Emma? The meeting with Julia, Julia’s sternness, unwilling to talk to Emma? Kala telling her the truth about Julia being her mother? The emotional tensions, Emma and her refusal to discuss things with Julia? Julia reaching out? Her encounters with Kala, on the beach, his persuading her to swim, in the grotto, her sense of freedom, the kiss, the momentary temptation?

5.Julia, the background of her marriage, the family not wanting her to stay in Boston? Lily and her thinking that she should stay and bring up the daughter, doing a favour for Julia? Julia and the ownership of the land? Refusal to discuss with Emma, breaking down, going to the meal, discussions with Jamie? The search for the missing children? The bonding with Emma? Her confession at Lily’s ceremony, Emma overhearing it, her apology and reconciliation?

6.Mike, busy, the decision to come to Hawaii? Wary about Emma, the relationship with Kala, seeing them outside the office? Jamie and her age, flirting with the boy, her father’s severity? Her hair, piercings? Sullen? The clashes with her mother on Hawaii? Her going to see Julia, the talk, meeting Billy, talking things over with him, the walk, the accident, the search? Her dancing Hawaiian-style at the funeral?

7.Neil, intellectual, always asking questions?

8.Kala, his mother, his work, reliable, the fifteen-year-old son? Billy and breaking and entering? Kala and his attraction towards Emma, the swim, the kiss? His work, the problem with the ownership and the water? The documents? Confrontation with the entrepreneur? The farewell to Emma?

9.Billy, the accident, talking with Jamie? The possibility of change?

10.The issue of ownership, the water on the land, the industry with the flowers and perfume? The documents? The accident and the finding of the burial place? The saving of the property?

11.Popular themes, family, relationships, tensions, development and the environment?

STURM/STORM

Germany, 2009, 110 minutes, Colour.
Kerry Fox, Anamaria Marinca, Stephen Dillane, Rolf Lassgard.
Directed by Hans-Christian? Schmid.

Topical, tense, alarming. And winner of the Amnesty International award.

The Balkan wars of the 1990s (repeats of centuries-long conflicts and heightened in the 20th century with the breaking up of the former Yugoslavia and the demands of independence) took their toll in the Balkan Peninsula and beyond Europe to further parts of the world like Australia where Serbs and Croats and others had migrated, their wars migrating with them.

Wounds may have seemed to have been healed but the scars need only to be scratched.

The United Nations established the International Court in The Hague to investigate war crimes. President of Serbia, Slobodan Milosevich, died before his trial was completed. As production began on Storm in August 2008, Radhovan Karetich of Bosnia was apprehended and extradited to The Hague.

Storm is definitely topical.

The film opens with a happy family playing on a Spanish beach. But, the father is soon apprehended and arrested. He is Bosnian Serb, General Duric. Three years later, his trial is under way and the legal teams, prosecution, defence, investigators, administrators, judges are working on the final phase of the trial only to have hopes of a conviction dashed because of faulty evidence, the falsity verified by the court visiting the site of the alleged incident and Duric's guilt.

The new prosecutor, tough in her manner, legal know-how and justice idealism, Hannah Maynard (Kerry Fox) who may be resenting her not being promoted of colleague, Keith (Stephen Dillane) goes into court and finds her case collapsing. At the same time she is in a relationship with a top-ranking negotiator for the Balkan countries to enter the European Union. She is a determined woman and her shrewdness leads her on an investigation of her witness' sister and the name of a remote place visited by the witness. Now a luxury hotel, it was a government owned facility, and the new owner uses strong arm tactics on her and the sister to convince her and the UN officials not to investigate.

Storm works on many levels. The human drama of Hannah's interactions with the sister, Mira (Anamaria Marinca) and Mira's being subjected to violent harassment ensures an emotional involvement. The political drama of how the court works, the compromises, the influence of broader factors (applications to join the EU and economic considerations) complicate the human drama.

The justice drama of courts hamstrung by legal minutiae and deals will probably affect those who take matters personally while those of a more objective perspective will be persuaded by 'bigger picture' arguments.

Filmed in Bosnia, Berlin and The Hague, the film looks and sounds authentic. It also means that these stories need telling and telling widely.

Director Hans-Christian Schmid made Requiem, the story of the Bavarian girl possessed by the devil in 1976 and her exorcism process.

1.A topical film, the 20th century wars, the 21st century trials, the 21st century war against terror?

2.The Balkans and audience knowledge, interest? The former Yugoslavia, the break-up? Centuries-old clashes, wars, ethnic differences, ethnic cleansing, atrocities?

3.The United Nations, setting up the international courts? The cases, the charges, the judges and lawyers, the witnesses? Learning how to administer this kind of justice? Justice to be seen? Compromises and deals, political and economic? The European Union?

4.The prologue, the family on the beach, Spain, the father playing with his daughters, the wife, going to the supermarket, their being followed, the armed intrusion and arrest in the house? General Duric and his role in the Balkans?

5.The focus on the Hague, the visuals of the building for the court, the city, interiors in the courts, offices? The judges? The interrogation rooms? The witness, the prayer, his testimony, powerful? The defence and the critique about the bus? The court having to go to the Balkans to visit the site, the testing of the parking of the bus? Hannah Maynard and her anger? The witness, his motivation, killing himself?

6.Hannah in herself, her career, not getting the promotion? Her interchanges with Keith Haywood, his being in charge? Patrick and his research? Her attitude towards him and his thoroughness, idealism? The case itself, the witness and his death? Hannah and her relationship with the negotiator for the European Union? The affair? The European Union links?

7.Hannah and her getting more information, the witness’s visits before he came to the court, going to visit his sister, Mira? Hostility, her family, the photos? Going to the hotel, checking with the local authorities about its history, the owner and his threats? The explanation of the photos taken of Hannah and Mira? The physical attack on Mira? Hannah and her waiting at the airport, Patrick returning to the Hague? Mira making contact?

8.Mira, her relationship with her family, her brother, the past? The transition to Germany, marrying, having a son? The physical attack on her? Issues of safety? Talking to Hannah? The experience, the arrest? The memories of the hotel, the torture and rape? Suddenly finding the soldiers gone? Testifying that Duric was in command?

9.Keith and his reaction, the judge and witnesses, the timing, going to the defence lawyer and the discussion? The guilty plea to taking orders? The deal? Silencing Mira?

10.The Serbs, their power, the list of influential men, the money, their rightist attitudes, believing in violence, going to the Hague, the graffiti on the car, terrorising Mira’s husband and son?

11.Mira and her taking her son to the Hague, in the hotel, on the beach, security, the meeting with her husband, his support?

12.Patrick, the research, the consequences of the deal, his leaving?

13.The defence lawyer, doing deals?

14.Hannah, seeing her lover with the defence lawyer and the accused, his role in the deal, economic interests and Serbia joining the European Union?

15.Hannah and Mira, being hard, tough, yet her compassion, the questions in the court, Mira being able to tell her story? Hannah running the risk of being barred from the courts?

16.The verdict, enough or not enough?

17.Hannah as the centre of the film, a strong woman, hard, principles, emotional, her career? The comparisons with Mira, what she had experienced, her fears, building a new life, testimony and truth?

18.The importance of for 20th century considerations of law and justice, truth, the role of compromise?

MAMMOTH

Sweden/US, 2009, 120 minutes, Colour.
Gael Garcia Bernal, Michelle Williams, Sophie Nyweide, Tom Mc Carthy, Marife Necesito.
Directed by Lukas Moodysson.

A big name for big, even cosmic themes but Mammoth does not have the huge impact it may have hoped for. Presented on a grand and international scale, its plot-lines are quite familiar to film-goers and have been more powerfully striking in other films. The themes are more than worthy and many audiences will find them moving to varying degrees.

The presence of Gael Garcia Bernal as the star may remind some audiences of Babel. In fact, Mammoth is reminiscent of Babel with its varied international stories, playing with time or, rather,differences in time zones instead of Babel's moving backwards and forwards in time.

Lukas Moodysson has built a reputation for strong, even tough smaller dramas (Amal and, especially, Lilya 4 Ever on Russian sex traffic) and experimental films. This has become what is expected of him and critical response to Mammoth has been to express disgust for his making a film that is technically well-crafted and accessible to a wider audience than usual.

The central story is a conventional one, well-acted, especially by Michelle Williams as a busy and harassed surgeon who is in danger of losing the affection of her 7 year old daughter ( to the very sympathetic Filippino nanny who works in the US, forced by her mother, to make money for a better life for her sons, ten and seven, back home. Gael Garcia Bernal is her computer whiz husband who has to travel to Thailand to sign multi-million dollar contracts.

His is the first of two subordinate stories. We have the conventional story of the wealthy man faced with another, fascinating culture and wants to opt out of the rat race, at least for a time, to relax, to think about doing some good for others, and resisting obvious temptations if he can.

The other story is that to the two boys in the Philippines who long for their mother, with the older being taught a lesson about poverty by his grandmother but which backfires alarmingly, introducing the theme of sexual exploitation.

Interestingly, the mobile phone plays a large part in the three stories, enabling instant contact and communication from and to each part of the world.

The film could have been called, Mothers and Children, Love and Loss.

The surgeon loves her daughter and does not want to lose her daughter's love. She is, in fact, operating on a little boy who has been viciously stabbed by his mother. The nanny is dominated by her mother. Her boys desperately miss their mother. Finally, the Thai prostitute is revealed as having a child and sings a lullaby to her over the phone.

The mammoth theme is explained in terms of evolution, survival and extinction and the place of humans in this development, with images of an elephant in Thailand, backed by visits to the New York Planetarium and talk about the cosmos.

Ultimately, this is a film about desire and hope for love and healing. Upbeat rather than the gloom one might have expected from the director's previous sombre work.

1.The impact of the film drama? Social concern? Global concern? Emotion?

2.An international production, the Swedish director and writer? The international cast? The style and scope? The emotional score?

3.New York life: wealth, apartments, offices, the hospital and surgery, the planetarium? The Filipino church and hall? The lifestyle in the First World?

4.The contrast with Bangkok, its vistas, expensive hotels, streets, poverty, offices, the Thai coast and the hotels, the bungalows and the beaches, the clubs and the sleaze? The tourists?

5.The contrast with the Filipino village, the poor homes, the streets and shops, Smoky Mountain and the rubbish, the centre for child prostitution? A Third World?

6.The interlinking of the three stories and the cross-cutting?

7.The title: cosmic, evolution, animals, natural selection and survival, extinction, the visuals of the elephants, the issues about human survival? Mammoth and the three thousand-dollar pen? The processing of the mammoth tusks?

8.The planetarium and the cosmic dimension? Issues of God, the Big Bang theory, the creation of the bang? Church and faith? Science and reason? The commentary in the planetarium? Jackie and her telescope, looking at the stars, her ambitions? Her mother asking her questions? The maid asking her questions?

9.Leo’s story: the whiz-kid, Ellen and Jackie, Bob and the planning of the trip, Leo as a family man? The luxury flight, the comforts, the gift of the mammoth pen, in the hotels, the deals, multi-million dollars? His being edgy? His talent in computer games and computers? His change of heart, the flight, going to the hotel, wanting a taxi, renting the bungalow, feeling free, buying the local shirts and shorts, swimming, meeting the backpackers? Going to the clubs, the drugs, the sleaze? Leo meeting Cookie? Giving her money, not wanting sex with her? Her story? Her puzzle? The return, the sharing of the day together, his resisting temptation, capitulating? His packing and leaving quietly? The effect of the experience, leaving the pen and the watches (one time for Thailand, one for New York)? His wanting to change the world, charity work? Signing the contract, returning home and to happiness? Cookie, her remaining in Thailand, on the phone with her baby, singing the lullaby? Some hope for her future?

10.Bob as a friend, as a symbol of the hedonistic West, greed, contracts, sexual exploitation?

11.Ellen’s story, her work, Anthony being brought in for emergency surgery, his mother stabbing him? Her work, nights, relationship with the staff? Absences from home? The phone calls with Leo? Her love for Jackie, Jackie always with Gloria, Jackie in school, the planetarium? Her wanting to make pizza with her but Jackie wanting to go to the Filipino church and the feast? Jackie going to Mass, in Tagalog, her learning Tagalog words? Ellen and her upset, yet her ordering pizza for herself? Her talks with Gloria about the issues? Gloria going home, Jackie sad? Ellen buying the telescope, up on the roof, bonding?

12.Gloria’s story: her mother and her demands, the two boys and their ringing her in New York, trying to earn money, the grandmother looking after the boys? School, upset? Gloria and Jackie and their bond? In each other’s company? Ellen and her fears about losing Jackie’s affection? Buying the basketball – ironically made in the Philippines? Salvador, his grandmother, her taking him to Smoky Mountain as a lesson about poverty, his trying to make some money, packing the rice and not getting the money from the woman? The other kids and his bike? The grandmother explaining about the children, sleeping with the tourists and making money? His taking his bike, the other kids taking it, bashing him? The tourist helping him? The search, his being abused, found, hospitalised? Gloria, the phone call, her anguish, at the airport, returning home, her mother, wanting to stay?

13.The range of situations, First World, Third World, family, love, hope, exploitation?

THE RAT PACK

US, 1998, 120 minutes, Colour.
Ray Liotta, Joe Mantegna, Don Cheadle, Angus Mac Fadyen, William Peterson, Zeljko Ivanek, Bobby Slayton, Megan Dodds, Deborah Kara Unger, Veronica Cartwright, Dan O’ Herlihy.
Directed by Rob Cohen.

The Rat Pack is a film about Frank Sinatra and his friends, dubbed the Rat Pack in the early 1960s. They were friends, drank and gambled together, made films together.

Ray Liotta seems miscast as Frank Sinatra. However, Joe Mantegna gives a very good impression of Dean Martin and Don Cheadle won a Golden Globe for portraying Sammy Davis Jr. Angus Mac Fadyen is also strong as Peter Lawford and there is a cameo by William Peterson as John F. Kennedy. Zeljko Ivanek is earnest as Bobby Kennedy. Bobby Slayton takes a back seat as Joey Bishop, the least known of the Rat Pack. Mai Britt, Sammy Davis Jr’s wife, is played by Megan Dodds and Deborah Kara Unger is Ava Gardner.

The film shows the playboy attitudes of the Rat Pack. However, politics enter in with Peter Lawford being married to Patricia Kennedy. This was a means of introduction to John F. Kennedy for Frank Sinatra who decided to help him, was leaned on by Kennedy’s father Joseph Kennedy (Dan O’ Herlihy) to get his Mob connections to support his son’s nomination. However, Bobby Kennedy finally advises J.F. Kennedy to stay away from Frank Sinatra, even though Sinatra is building a special house for him to stay in in Palm Springs.

The race issue is also interestingly handled with a sympathetic Sammy Davis Jr and his love for actress Mai Britt, their planning to marry, the pressure on Sinatra not to attend because of the interracial marriage.

The film shows the cabaret work of the Rat Pack, especially in Las Vegas, as well as some of the scenes from Ocean’s Eleven – with a rather peremptory and dominating Frank Sinatra over the director, Lewis Milestone.

The film is interesting in its re-creation of the period – but the group, as a whole, doesn’t elicit a great deal of sympathy.

1.The interest in the Rat Pack? In Frank Sinatra, Dean Martin, his friends? Their place in the 1960s, celebrities, with the Kennedys, the influence in American politics of the period? The Mafia? Film-making?

2.The re-creation of the period, the clubs, Las Vegas, film sets, politics and Washington, Palm Springs?

3.The songs, Frank Sinatra, Sammy Davis Jr, Dean Martin? The styles, the period, popular? Illustrating the characters? The close with ‘One for My Baby’?

4.The title, the name of the group, the five, their friendship, different backgrounds, interests, work in Las Vegas, in films? Their relationship with the press?

5.The skills of the five as entertainers, their reputations, the impersonations of their singing, acting, comedy?

6.Politics and J.F. Kennedy, Peter Lawford and the Kennedys, Frank Sinatra coming from Hoboken and wanting to come up in the world? Audience interest in the politics of the time, the Democrats, the possibility of a Catholic nomination for president? Dinners and the Kennedys, friends, influence? The work of the campaign – and the Rat Pack and their songs, Kennedy present at the concert, fundraising? The aftermath of the election, Lawford and his visits to Kennedy, pleading for Sinatra? Robert Kennedy, the information about the Mafia, about Giancarna and his relationship with Judy Campbell, J.F. Kennedy’s relationship with her? Hoover and his letters? Bobby Kennedy advising J.F.K. to not stay with Sinatra?

7.John F. Kennedy, his style, inspiration at the time, Jackie and her role? Peter Lawford and the campaign? The song ‘High Hopes’ and its use? The election, the problems, the Bay of Pigs? Kennedy sailing on his yacht with Sinatra, the sex discussions, the relationship with Marilyn Monroe, Jackie Kennedy and her not wanting the Rat Pack as guests?

8.Bobby Kennedy, his background? His role as attorney-general, Judy Campbell and Giancarna, the letter from Hoover, Kennedy and his avowed attack on the Mafia, his statements, warning his brother?

9.The Mafia and their types, their activities, connections, influence? The contemplation of hits or not?

10.Frank Sinatra and his career, the summary, his career in the 50s, the Academy Award, his films, as a singer, with Peter Lawford and the Kennedys, Sammy Davis and his support? The place of Joey Bishop in the group, the Jewish background? Talking with Dean Martin? Sinatra’s ambitions, moods, titles? Friends? Sexual partnerships, the resumption of his relationship with Ava Gardner, her drinking? His angers, fall from grace? The final song, ‘One for My Baby’ and one for the road?

11.Dean Martin, the impersonation, his career, the past with Jerry Lewis, as a singer, films, easygoing, being his own man, separating from the Mafia?

12.Peter Lawford, the British background, his film career, the marriage connections, a courier for Sinatra to Kennedy, his promiscuousness with women, Kennedy cutting him?

13.Sammy Davis and his career, the accident, his eye? Race issues? Meeting Mai Britt? The protests, his continually being the butt of jokes (even from the Rat Pack)? The plans for the wedding, Sinatra’s presence or not? Joseph Kennedy and his despising of Davis and warning Sinatra? Sammy Davis’s skills, singing and dancing?

14.Joey Bishop, Jewish comedy?

15.Ava Gardner, her life, career, relationship with Sinatra, the broken marriage, her drinking, the relationship?

16.The Rat Pack as a phenomenon of the period, American interest, admiration, celebrities? In retrospect?

HIMALA

Philippines, 1982, 124 minutes, Colour.
Nora Aunor, Laura Centeno.
Directed by Ishmael Bernal.

Himala has a very strong reputation as one of the best of the Filipino films of the 20th century. It was the first film produced by a Philippine government film body, Experimental Cinema of the Philippines, established in the 1980s by Imelda Marcos. Himala won nine awards at the 1982 Metro Manila Film Fest and won the Catholic media award.

The setting is a small remote village. The characters experience an eclipse of the sun and Elsa, a young simple woman in the village, thinks she has experienced a vision of the Blessed Virgin Mary. The people respond in an enthusiastic and even a fanatical way, seeing their town transformed by the shrine and the visions.

The film shows the response of a variety of people. The parish priest, presented sensibly, is sceptical, discusses the issue with Elsa and other people, hears confessions and finally gives a sermon trying to understand what has happened in the town.

The film focuses on Elsa’s friends, the devotees, especially a young woman who is jilted, raped without Elsa being able to help her and then commits suicide. This man, intending to go to Saudi Arabia for work, becomes involved with Elsa’s brother and they commit a murder of a taxi driver. Another key character is a sceptical photographer who comes to make a documentary and captures the rape attempt by two drugged young men on the two women. However, he has to face his conscience and whether he will use the material.

The film has a grim climax. Elsa, feeling that she has been duped by the visions, announces to the crowds at the shrine that she did not see the Blessed Virgin Mary. She is shot and killed. There is a very long procession carrying her body to an ambulance, a kind of Pieta and Way of the Cross.

The film makes a great deal about Filipino village life, Filipino Catholicism and superstition, the desire for miracles (himala meaning miracle). However, with the transformation of a number of people, some kind of miraculous change occurs.

The film was written by veteran writer, Ricardo Lee and directed by Ishmael Bernal, a strongly esteemed Filipino film director. He uses an austere style, many close-ups, long takes – leaving movement especially for the final procession.

1.The reputation of the film, the 1980s, Filipino cinema, the esteem for the film? The portrait of Filipino society? Religion?

2.The portrayal of the village, ordinary, poor, the homes, the church, the countryside, the hill and the shrine? Light and darkness? The opening eclipse?

3.The use of close-up long takes, crowd scenes, the musical score, hymns? The final movement in the procession?

4.The title, miracles, Elsa and her experience, the experience of the eclipse, the visions, her faith, lost in prayer, ecstatic? The consequent healings? Interior transformation? Whether the miracles occurred or not? The nature of faith and intercession? Prayer and petition? The curse on the town, the people to blame, not relying on God? The end? The proclamation of Elsa as a saint?

5.The visuals of the eclipse, the apocalyptic mentality, fear, superstition, the end of the world? Elsa and the barren tree, the vision and prayer? Her return to this place for prayer?

6.Elsa and her adoptive mother, their working together, the woman in charge? Their discussions? Elsa’s life, her friendships? The owner of the house and her becoming the patron? The support group? The older woman with dark glasses, healed? Elsa’s role in the miracles, Elsa as intelligent, devout, going away to pray?

7.The followers, the nature of the healings, the crowds, the control, the commercialisation of the town, the women and their prayer?

8.Elsa’s friend, her boyfriend, her being willing to go away, the looking forward to marriage, supporting the man, talking to Elsa, the man leaving and jilting her, the rape and Elsa unable to help her, her hanging herself?

9.The photographer, looking at Elsa, her looking at him, his finding no room in the hotels, going to the house of the girl who came back from Manila, his photos, photographing the rape, going to the priest in the confessional, discussions with him, his intentions about using the material, going to Elsa, talking with her, his observations at the end?

10.The men, Elsa’s brother, the thief, the boyfriend, the casual approach, the murder? His returning, talking with Elsa, wanting to make atonement?

11.The role of the priest, plain talk, sceptical, the church’s opinions, his advice, the photographer and confession, Elsa, his sermon and his observations about the miraculous?

12.The cholera epidemic, the children taking the food, their deaths, the funeral, people blaming Elsa? The grief of the families, the mother?

13.The thugs from Manila, drugs, the rape at the shrine, the consequences? Later Elsa being mocked and laughed at by the young boys?

14.The woman from Manila, her friendship with Elsa in the past, becoming pregnant, going to Manila for the abortion, her work in Manila, the sex trade, her return, the encounter with the photographer, with Elsa and the plans to leave, discussions with the photographer, her relationship with her father – and the cigarette trick?

15.Elsa, her sense of failure, the deaths, her pregnancy? Her being sick?

16.Her decision to speak to the crowds, the gathering, her confession, her being shot?

17.Elsa’s vision of the Blessed Virgin, with the wound in her side – the Blessed Virgin Mary as a vision of her inner self, her own death? The crowds, the solemn procession? The woman proclaiming Elsa as a saint?

MAGNIFICO

Philippines, 2003, 120 minutes, Colour.
Jiro Manio, Lorna Tolentino, Albert Martinez.
Directed by Maryo J. de los Reyes.

Magnifico is a celebrated Filipino film, with religious overtones, a contemporary parable of village life with indications of a Christ figure.

The original story was written by Filipino/Japanese writer Michiko Yamamoto. She also wrote the screenplay for Santa Santita and co-wrote The Blossoming of Maximo Oliveiras.

The film portrays life in a village, opening with the birth of a young boy whose proud father calls him Magnifico. The family consists of an older brother who studies in Manila and a younger daughter who has cerebral palsy. The grandmother also lives with the family.

When Magnifico is eight, he manifests a kindness that transforms the lives of everybody in the household and beyond. He is able to care for his younger sister, challenge his older brother who wants to deceive a young woman into marriage in order to get her inheritance. His father is a carpenter and works hard, taking a break in trying to solve the Rubik Cube. His mother is hard-working, short-tempered and worried about finance. The grandmother is a genial woman but is discovered to have pancreatic cancer.

There are various other characters in the town, two gossiping women and a middle-aged man, rich, whose mother has just died. There is also a fat boy at school who helps Magnifico in his enterprises – trying to save money by building a coffin for his grandmother.

The film has the flavour of the Philippines, of life in the village – but moves towards a sad ending, paralleling the death of Jesus and the consequences for people after his death.

Mary J. de los Reyes is a prolific film and television director – but this is his main achievement.

1.The portrait of Filipino life, the theme of goodness?

2.The title, the boy, his being called Ikoy, his father’s delight in his birth, his relationship with the rest of his family, beyond his family?

3.The details of the village, the homes, buildings, the shops, school, the cemetery? The fiesta? The detail and feel? The musical score?

4.The gospel parallels, implicit? The birth of the boy, his family, his father a carpenter, a boy of goodness, his fat friend and himself making the coffin for his grandmother, his care for his sister with palsy, his being able to sue the people? His wanting to take his sister to the fair? To buy the wheelchair? Selling drinks with his friend to raise the money? Getting the leftover wood, the detail of making the coffin, his father helping him, the fat boy? The painting of the coffin? His brother, the relationship with the girl, making his brother face the truth? Reconciliation? Getting the dress from the girl for his grandmother’s wake? His being direct, his honesty? The pathos of his death? Magnifico as a Christ figure?

5.The world of poverty, Ikoy’s brother and his studying in Manila, losing the scholarship? His friend, the plan to deceive the girl, courting her, falling in love, his lies, the girl’s father and his concern? Ikoy’s home, the father and his work, building, the Rubik Cube, his mother and her continued concern, the grandmother’s fall, the hospital, paying for the medicine, needing food, her angers? The funeral, the effect on everyone? Issues of money: the stern mother, her treatment of the children, getting upset with Helen, the grandmother, the gossips, preparing the food for the fair, pawning her ring, getting it back, the final kindness to the grandmother?

6.Helen and her palsy, her moods, feeding her, her crying, Magnifico and the water pistol to help her food going down? The fiesta, the rides, her beginning to talk? Her mother’s delight?

7.The grandmother and her age, the massage for the clients, with the children, on the roof, falling, going to hospital, the diagnosis of cancer? The severity of her pain at home? The medications? Her wanting to eat sweets? With Magnifico and his helping her? Her sadness at his death?

8.The gossiping ladies, the shops, the flirting with Domenk? Their rivalry? Kindness to Magnifico? Concern about Helen? At the fair?

9.The fat boy, continued eating, Magnifico’s comments, his helping him with his work?

10.The brother’s friend, his mimicking Helen, cruel, the plan to seduce the girl? His later kindness in giving the lift?

11.The girl’s father, his wealth, the jobs, the building, with Magnifico’s father, his strictness with his daughter, seeing her with the boy, on the lake, the talking to the two? The correctness of his suspicions?

12.The girl, working in the shop, Magnifico and the dress for the grandmother, flirting with the boy, falling in love, going out, the restraint, on the boat, her overhearing the truth? Her being hurt? The boy going to apologise to her on the bus? Going to Manila? A future or not?

13.Magnifico’s death, Domenk and his concern? The funeral, the priest and the prayer?

14.The aftermath for everyone concerned, the father finding the solved Rubik Cube, the mother and getting her pawned ring back, buying the sweets for the grandmother, the grandmother grateful, Helen and some improvement, speaking? The touch of the miraculous?

CAVEDWELLER

U.S., 2004, 95 minutes, Colour.
Kyra Sedgwick, Aidan Quinn, Kevin Bacon, Sherilynn Fenn, Jackie Burroughs
Directed by Lisa Cholodenko

Quite an enigmatic symbolic title for this modest but effective film. Cavedwellers can be recluses, people who hide and have gone back to nature. Early cavedwellers were primitive. The epithet caveman is not a compliment to a man - and its describes some of the behaviour of the leading men here. When cavemen were brutal, the women had to suffer, to hide, ro run away if they could, to protect their children. These are the kinds of thoughts that come to mind while watching Cavedweller.

Lisa Cholodenko has made two quite different films with the chic and sexually ambivalent world of High Art and the bizarre world of Hollywood and the record industry in Laurel Canyon. Now she goes south and west to California and, more importantly, the kinds of backwoods communities of Georgia.

This is Kyra Sedgwick's film. She is centre screen all the time. At first, it is difficult to sympathise with her. Her long-term partner is killed in a drunken car crash and she makes a hasty decision to return home with her daughters, to Georgia. She had run off ten years earlier, abandoning husband and daughters, with a musician. How can she return and be accepted? This is the gist of the story. And there is a lot more back story than we might have thought, filled in with vivid flashbacks.

Kyra Sedgwick (Mr and Mrs Bridge, Phenomenon) is totally convincing as a woman who has made a mess of her life. When we understand the pressures she was under, we appreciate her better. And we appreciate her even more strongly when we see her making decisions which are self-sacrificing. The last 20 minutes of the film give it quite some depth.

Kevin Bacon (who has been married to Kyra Sedgwick for many years and appeared with him in films like The Woodsman) is the care-free musician. Aidan Quinn gives a powerful performance as the brutal husband. The girls who portray the daughters, two who have not seen their mother for ten years, one of whom has religion from her possessive grandmother who has brought them up and the other who could go the same way as her mother, as well as the daughter by the musician, give substance to the struggles in broken family relationships.

Winner of the Ecumenical Prize at the Karlovy Vary festival, 2004.

1.A film about family, family abuse, forgiveness and reconciliation?

2.The meaning of the title? Elliptical?

3.The present story of Delia, the flashbacks to the past, to Clint’s past, to Randall’s?

4.The initial impact of Delia, her type, look, manner of speaking, her relationship with Cissy? Randall’s death? The glimpses of them in the car, the crash? The ambiguity of the relationship with Randall? Difficulties with Cissy, her playing her father’s records, Delia stopping her? The decision to return to Georgia, to return home, her motivation, rectifying the past? Packing, leaving, the long drive, the clash with Cissy in the car, the motel, going to the diner for breakfast and the woman attacking her for running away?

5.Cissy, her age, an image of her mother? Her devotion to her father, idolising him, playing his music, resenting her mother? Using her name? Not wanting to leave Los Angeles? The hardships of the trip?

6.Rosemary, playing in the band, her friendship with Delia, her confidante? Their discussions, her talking with Cissy and helping her? The later visit, observing the situation, observing the girls, bringing music to the table, the meals, joy, common sense? Her seeing Dede spent the night out and confronting her? Amanda making the crosses? Her going back to LA – and a catalyst for the women?

7.The flashbacks to Randall, his charm, playing, the kiss, the bus breaking down, the crash and the injury to Cissy’s eye, his behaviour, his death?

8.The flashbacks to Clint, the carnival, his outbursts, at home, the bath sequence, his violent treatment of Delia? Her memories of running away? Her saying she could never stay?

9.Her granddad, Cissy thinking the people hillbillies, his receiving Delia, his reaction, warming to Cissy, bringing the trunk?

10.Mrs Windsor, at church, her condemnation of her son, taking the girls, her prim educating of them, her hostility to Delia, upset about the legal situation, Delia suggesting she come to visit Clint as he died, her hardness of heart?

11.M.T. as a friend, the past, support to Delia, advice, friendship with Cissy, memories of her mother as a hairdresser?

12.Delia and the girls, not being able to meet them, going to church, looking at them, M.T. and her advice about legal custody?

13.Clint, his illness, Delia’s visit, the bargain, helping him with his death, his signing the documents? Cissy arriving, meeting him? The girls, their arrival, awkwardness with their father, the meals, their room, Dede like her mother, Amanda and her primness? Their dislike of Delia? The influence of Mrs Windsor and her strictness?

14.Dede, like her mother, interest in Randall’s music, discussions with Cissy, opening the trunk, Delia’s clothes? Her night out with the twins? Rosemary’s confrontation?

15.The contrast with Amanda, in the choir, her conversion experience, her God language, prayer, prim, not wanting the lift from Delia, condemning her mother, saying God would judge her and send her to Hell? Delia and her words about Jesus, forgiveness, not wanting Amanda to be bitter? Amanda making the crosses, making a Calvary for Delia?

16.Delia, her discussions with the pastor, reflection on the past, assessing her responsibility, her atonement? Her acceptance of her own Calvary?

17.Delia cleaning, caring for Clint, Cissy reading to him, the talks, remembering?

18.Clint’s death, her invitation to the girls to be there, Carrie and her holding Clint’s hand, his saying he was sorry? Her reverence for him?

19.The aftermath, her telling the girls the story of her meeting Clint, the happy memories? The focus on her face, the faces of the girls – and indications of the future?

IRON JAWED ANGELS

US, 2004, 116 minutes, Colour.
Hillary Swank, Frances O’ Connor, Julia Ormond, Molly Parker, Anjelica Huston, Patrick Dempsey, Bob Gunton, Laura Fraser, Vera Farmiga, Lois Smith, Margo Martindale, Joseph Adams, Carrie Snodgress.
Directed by Katija von Grenier.

Iron Jawed Angels is a strong television film about women’s suffrage in the United States.

Audiences will be sympathetic to the group of women who were so influential in extending the vote to women throughout many of the states of America and were instrumental in changing the Constitution. They were nicknamed by a journalist The Iron Jawed Angels and were not sure whether this was a compliment or a criticism.

The film was directed by Katija von Grenier, a German director who made the feminist women’s escape film, Bandits (1997) and the horror film made in Romania, Blood and Chocolate (2007). The film has a very strong case with Hillary Swank at her best as Alice Paul, a leader in the suffragist movement (who died in 1977). Frances O’ Connor is excellent as her friend Lucy Burns. Julia Ormond has a role as Inez, a figurehead of the movement, in the protests dressed in armour and riding a horse. Molly Parker is a timid senator’s wife who resists the movement but eventually is prepared to go to prison against the wishes of her senator husband (Joseph Adams). Anjelica Huston is very strong as the head of the National Women’s Movement assisted by Lois Smith. Also amongst the suffragist movement are Laura Fraser and Vera Farmiga. There is a touch of the romantic interest with Patrick Dempsey as a cartoonist for the Washington Post. Bob Gunton portrays President Woodrow Wilson – who does not emerge well from the film because of his opposition to the votes for women.

The film creates the period very well, Washington, travelling throughout the land for rights. Costumes and décor are meticulous. However, it is the history of the period from 1912 to 1920 that is of interest. The film focuses on the inauguration of Woodrow Wilson and the parade, interrupted brutally by the police, at his inauguration. There are campaigns against him, protests and demonstrations outside the White House, even when America went to war and patriotism turned against the women. There are very sobering scenes as several of the women are arrested, interned in a workhouse, humiliated, even tortured, especially Alice Paul and her going on a hunger strike and being force-fed.

There is a sense of triumph, however, when Wilson supports the vote and, in 1920, Tennessee is the last state to approve women’s suffrage.

The film is interesting in the 21st century with its focus on the fight for women’s rights – and a reflection on the continued fight in many areas (not less the churches).

1.The impact of the film? Interest, entertainment, challenge? Equality issues? Women’s vote as a symbol for equality and rights? In institutions, government, organisations, churches? The role of men, assumptions about women, intelligence, rights, their place in the home? Issues of power?

2.The title, the journalistic phrase, compliment or criticism? Audience sympathies with the women?

3.The history of suffrage, the assumptions about women, votes in the 19th century, New Zealand in 1893? The United States, Lincoln and freedom for the slaves, the slow progress through the states, the need for amending the Constitution, Woodrow Wilson’s refusal, the political advice, the protests in 1913, the issue of World War One and America’s involvement and women’s rights? The votes in the states? The achievement by 1920? As seen in retrospect?

4.The women’s movements, the suffragettes in the United Kingdom and their protest? America, the National League, strong women, committees, lobbying politicians, lobbying President Wilson? Alice Paul and Lucy Burns and the next generation? Their ideas, protests, fundraising, newspapers, political advice, demonstrations, prison, the witness to their cause?

5.The introduction to Alice and Lucy, as girls, friends, meeting in England, the issue of the hat, Lucy and her always tossing a coin for decisions? Going to meetings, meeting the national committee and the leading women? Discussions with them, moving to Washington, the plan for the protest at the inauguration in 1913? The premises in Washington, dingy, tidying up, the furniture, going out into the streets, campaigning, the questions to the passers-by, donations, people eager, people indifferent, people timid? The African American woman and the issue of marching as peers, the protests of the south? Emily, with her children, the senator’s wife, her apprehensiveness, later giving the donations? The bar, meeting Ben and Inez? Inez, the parade, dressed as a heroine, on the horse? The parade and the floats? Wilson and his wife, their commenting on the lack of people at the parade? The angers, the men, throwing objects, the police ignoring, the fights, the police involvement, the violence? The committee’s reaction in horror? The newspapers on the side of the women, criticising the police? Alice and her sense of achievement with the protest?

6.President Wilson, as a person, president, his politics, Democrats? His receiving the delegation of women, their outspokenness? His refusal? The range of advisers and their opinions? The senator, symbol of the opposition, his relationship with his wife, children, the issue of her allowance, her donations, her name appearing in the paper, her husband confronting her, restricting her? His announcement of the outbreak of war?

7.Alice and Lucy, Lucy, her personality, chatter, lonely? Alice and meeting Ben and Inez, Ben and his cartoons, the attraction, her wanting to get to his editor, the dinner with his son, his being a widower? The politics, meals, Ben taking her out, teaching her to dance, the kiss, Alice and the sensuality and the bath scene? Her celibacy and her vocation? Ben and his relationship with Doris? Alice’s reactions?

8.Alice and the fundraising, getting the celebrities like Helen Keller, the money collected, the paper, the reaction of the committee, Carrie’s reaction, the proposal, the vote, the dilemma for Lucy and Alice? To separate or collaborate?

9.The anti-Wilson campaign? The outbreak of the war, Inez and the war campaign? Her wanting to say no to the tour, Alice persuading her to go, her speeches, collapse, death? Alice blaming herself, retiring to the farm, her discussions with her mother?

10.America and the entry into the war, Wilson and the initial resistance, the change in climate, the role of the women’s protest in the context of the war?

11.Emily, wanting to tell her husband about her donations, her deciding to go to the picket line, participating? His taking the children away? The talk of custody?

12.The war, the picket line, the banners, the quotations from Wilson’s speeches, the scuffles, the abuse, the arrests, the charge of obstructing traffic, the big number of women in the court? Emily criticised by her husband for being there with the children?

13.Doris, her place in the group, support, her friendship with Ben, her fears, joining in the protests? The worker from the factory, Alice’s image of the fire escape and women’s rights and the votes, her participation, translation from her European languages? The arrest of the women, Lucy and her anger, the prison, the humiliation, clothes, the food, the workhouse, the attitude of the authorities, the matron, the men?

14.Mabel, her role as secretary, her managing all the details? Her concern about Alice?

15.Alice, the decision to go on the picket, her arrest, the treatment, wanting the window open and breaking it, being put in solitude, the hunger strike, being force-fed, her illness, passing the notes – and the help of the matron?

16.The senator, visiting Emily, his shock, her giving him the note, the newspapers, the reports, Wilson and his advisers considering what was to be done, the harshness of the prison authorities, the torture?

17.The women free, resuming their campaign, the ending of the war? Carrie and her visits to the president, her smooth talk, her calm threats, her ultimatum?

18.Wilson and his speech in Congress, the vote, Carrie giving a seat for Alice to sit down? The mutual respect?

19.1920, the vote in Tennessee, the group in Washington listening, the phone call, the member and the note from his mother, his voting in favour?

20.The ending, the review of the women and their participation in the movement, the close-ups? The exhilaration? Their achievement?

21.The relevance of this campaign to similar campaigns in succeeding decades? The continuing issue of equality of rights for women, in the workplace, churches, institutions…?

STOLEN HOLIDAY

US, 1936, 80 minutes, Black and white.
Kay Francis, Claude Rains, Ian Hunter, Alison Skipworth.
Directed by Michael Curtiz.

Stolen Holiday is a more elaborate and bigger-budget film for Kay Francis, so popular at this period of the 1930s. Her next film would be Another Dawn with Errol Flynn.

Claude Rains was emerging as a Hollywood lead after his career in England. He soon became a standard villain (The Adventures of Robin Hood, Mr Smith? Goes to Washington). Ian Hunter was a British romantic lead in many Hollywood films. There are some comic touches by the veteran Alison Skipworth.

The film has the exotic touch, set in France. With its story of frauds and big business, it is even relevant at the beginning of the 21st century. However, it is reminiscent of a similar kind of scandal which took place in France in 1934 with a swindle which had political repercussions. This was the subject of the film Stavisky starring Jean-Paul? Belmondo from 1974.

1.A popular romantic melodrama of the 1930s? The French setting? The financial fraud? The world of fashion? Politics, police, corruption?

2.The black and white photography, the studio sets for France? The fashion shows? The holiday resorts? The comfortable homes? Police precincts? The musical score?

3.The focus on Nicky, her work as a model, her being chosen by Stefan? The deal and her agreement? Her prosperity, her fashion house, her design? Her friendship with Stefan? The encounter with Anthony Wayne, the party, his background as a diplomat? The easy life? The difficulties with Stefan? The changes, suspicion, the protest outside her shop? Her standing by Stefan, marrying him? Discovering the deceit? Her going to him, the police following her, the confrontation, her response to his death? A future with Anthony?

4.Stefan, the Claude Rains type of character? His suddenly appearing, his presence at the fashion show, the choice of the models, choosing Nicky? His proposal? His prosperity, the fraud? The politicians, the police, his connections? His assistant? His covering his tracks? Going into different businesses? The police investigations? The arrest of the colleagues? His being one step ahead? His flight? Talking with Nicky, the proposal of marriage, wanting the politicians to be present? The police arriving, the politicians and police disappearing? His going away, Nicky’s reaction? Her following him, his confession to her, his shooting himself?

5.Anthony Wayne, the suave diplomat, the attraction to Nicky? Standing by her? The years passing? The final support, the holiday together, her going to Stefan? His saving her at the end?

6.The police, the politicians? Their agreement to the fraud? Their concerns, going to Stefan, his aplomb? The police, the interrogations, saving themselves, giving information? Pursuing Stefan on his holiday? His death?

7.Suzanne, the worldly wisdom, support of Nicky, criticisms of Stefan, setting Anthony up, arranging things? Her support of Nicky?

8.Nicky, the end, selling her company, repaying the debtors?

9.The American history of this kind of fraud from the 1930s to the 21st century? Imaged in a French scandal?

THE KEYHOLE

US, 1933, 70 minutes, Black and white.
Kay Francis, George Brent, Allen Jenkins, Glenda Farrell.
Directed by Michael Curtiz.

Coming from Hungary, and never quite mastering the English language (Bring on the Empty Horses), Curtiz nevertheless had a very strong thirty-year career in Hollywood. He worked for Warner Bros at first, making small-budget films and improving with such films as Stolen Holiday. He then moved on to Errol Flynn epics and action adventures during the 1940s. He also made a number of musicals with Doris Day and varied his films during the 1950s and 60s with such films as White Christmas and Francis of Assisi. He won the Academy Award for directing Casablanca.

The Keyhole is a film of the 30s, fidelity and infidelity, private investigators, wealthy New York businessmen, Americans going for holidays to Cuba. The film highlights the keyhole at the beginning and end of the film, the audience being somewhat prurient in looking at these episodes. Kay Francis was very popular at the time as a star at Warner Bros. George Brent was at the beginning of his career – not a particularly striking actor but a good foil for strong actresses, especially Bette Davis (Dark Victory).

1.A 1930s melodrama? Style, content, moral perspective?

2.Black and white photography, the studios? The initial keyhole sequence? New York, Cuba and nightclubs? The popular location for films during the Depression?

3.Ann, her relationship with Maurice, dancing? Giving him money? Breaking up the act? His reaction? The collage of their dancing?

4.Ann and her marriage to Brooks, wealthy? His suspicions? Her being blackmailed by Maurice? The issue of the money? Her going to Cuba, the boat, the encounter with Neil, the attraction? Her faithfulness to Brooks? Her telling Neil the truth? Brooks coming, the confrontation, her leaving him? A future with Neil?

5.Brooks, wealth, the trophy wife, suspicions, hiring the private detective, the telegrams, coming to Cuba, the confrontation, losing his wife?

6.Neil, the private eye, his assistant and his flirtations? His mistakes? The attraction to Ann, trying to trick her, romance her? Falling in love? His attempts to remedy the situation? Maurice and the confrontation, his death – and the ironic use of the suicide note?

7.The comedy with the assistant, his girlfriend, wealth, crass and comic manner?

8.Maurice, the final confrontation, his death – the suicide note?

9.The popularity of this kind of romantic melodrama in the 30s – now?