PAYROLL

UK, 1961, 117 minutes, Black and white.
Michael Craig, Francoise Prevost, Billie Whitelaw, William Lucas, Kenneth Griffith, Tom Bell, Barry Keegan, William Peacock, Glynn Houston, Joan Rice.
Directed by Sidney Heyers.

Payroll is a typical British crime thriller of the late 1950s, early 1960s. It is almost documentary in visual style and in presentation of plot. It is set in the north of England, in Newcastle.

It is the time when better security is being introduced on security vans. A group of robbers intends to take a payroll but has to adapt to the new plans with the higher security. They do the robbery, quite brutally, killing a driver and wounding the guard.

The film focuses on the group, led by Michael Craig, usually a leading man in the Dirk Bogarde vein. Other members of the group include Kenneth Griffith and Tom Bell. Billie Whitelaw has a strong role as the wife of the murdered man, the plot developing into her revenge and taking the law into her own hands. Francoise Prevost portrays the wife of the employee who gives the plans to the group and then has an affair with the Michael Craig character.

The film was directed by Sidney Heyers, a Scotsman who had begun directing short films in the late 1950s. This was his second feature after Circus of Horrors. He went on to direct a great deal of television material including episodes of The Avengers, eventually going to the United States where he made some films but had a career in television.

1.British drama, 1960s style?

2.The 1950s, the small crime films, an attention to realism, naturalism, detail? Almost documentary tone?

3.The city of Newcastle, the companies, homes, police, clubs, the sea, the English coast, the scenes in Norfolk? The musical score?

4.The direct title and indication of issues and themes?

5.The credits, the tone, naturalistic detail, the audience identifying with the situations? Now?

6.Security, vans, changes, the initial test and reactions, Harry and his hopes, talking to Jacquie? The company and the use of the security? The staff, the payroll? The criminals being thwarted, getting the plans, success, the deaths in the robbery?

7.The introduction to the group, Johnny as leader, Blackie and his offhand attitude, Monty and his prison experience, Bert? The new plan, the meetings, the discussions with Pearson, on the inside, getting the new plans, Johnny and his forcefulness, the time, the plans, the execution, tough, the crash, the shooting, the injuries? Bert dead, his being left? The situation with the robbers?

8.Harry, at home, Jacquie, the kids, hopes of finance, success? Frank and his wife? Her pregnancy?

9.The police, the interrogations, going to Pearson, his reaction, going home from work? The police and their hunch about Pearson? Watching his house? Jacquie and her suspicions?

10.Pearson, in himself, his back-story, his wife in Vienna, the reasons for marrying her, her harsh treatment of him, the restaurant and the dance, with Johnny? Her affair? Her shrewdness, the money? Pearson’s weakness, fears? The confrontation? Her leaving, the letter from Jacquie, finding Johnny, stealing the money – and left with no cash at the petrol station? Pearson and his collapse?

11.The aftermath, Johnny and Blackie hiding out, Blackie’s tension, Johnny cool? Leaving Bert, Monty upset, his reaction, going to the locker, getting the ticket, his drinking, the bar, the woman at the bar, the young men burning his ticket, bashing him?

12.Pearson’s wife, her character, the affair? With Johnny, his ruthlessness? Her leaving him? His going to the boat, the police, his escape?

13.Blackie, the police coming, the gun, shot by Johnny?

14.Jacquie, her love for her husband, care for her children, impassive after the death, her weeping later? Her need for vengeance and closure? Her decision to write the letters? The letters to Pearson, watching him? Seeing Johnny with Pearson’s wife? The phone calls, the letter to Pearson’s wife? Going to the house, the garage, information about the boat, on the boat, her letting the boat kill Johnny after he went overboard?

15.The blend of the realistic and the melodramatic?

ENCHANTED

US, 2007, 107 minutes, Colour.
Amy Adams, Patrick Dempsey, James Marsden, Idina Menzel, Susan Sarandon, Timothy Spall, Rachel Covey. Narrated by Julie Andrews.
Directed by Kevin Lima.

You would have to be a bit of a stone not to enjoy this engaging fantasy. If you don’t enjoy the romance, you will certainly enjoy the spoofs and the irony.

The opening of the film transports us back to the heyday of Disney films and their animation style. Here is Giselle, not a princess, but a dreamer like Snow White, who knows that one day her prince will come. And he does, listening to her song wafting over the countryside. She confides all her hopes to the biggest collection of supporting animal cast since Bambi. Unfortunately for Giselle and Prince Edward, his wicked stepmother (straight out of Snow White and Sleeping Beauty) puts a curse on Giselle and sends her as far away as possible, down a well - into a busy Times Square and in the human form of the charming Amy Adams.

For those who were wondering what the film was getting at, once they are in New York, they will be at ease, except that they will be laughing a lot.

What happens when you blend the innocence and charm of fairyland with modern New York City? For the cartoon characters, it can be life transforming. Giselle finds that being human is not being a two dimensional drawing with one dimensional thinking and feeling. Grateful for any help, she is looked after by a businessman (Patrick Dempsey on leave from Gray’s Anatomy and obviously relishing a substantial film role) and his daughter. He is generous but mystified and exasperated but his daughter is enraptured by Giselle who gradually becomes more Cinderella-like. As with Crocodile Dundee and ingenuous others from out-of-town, there is a lot of comedy to be had from misunderstandings and mix-ups in the big city.

This is further complicated when Timothy Spall turns up to do the wicked stepmother’s evil behest to get rid of Giselle. Lots of comedy in his disguises and his frustrated and failed attempts.

Then more complications when Prince Edward materialises in search of Giselle. He is even more of a Crocodile Dundee, but without the innate sense of humour and shrewdness. He remains amusingly two dimensional in the fine performance by James Marsden (who was also very good in his role as the MC in Hairspray). His one dimensional thinking, feeling (and expectations that he and Giselle should be singing romantic songs) do not change.

Then, at last, at a ball, the stepmother materialises in the form of Susan Sarandon. Battle begins.

There are some romantic songs from Alan Mencken and Stephen Schwarz which often receive the spoof treatment – and the lyrics are often very funny. There is a chipmunk who can speak in fairyland but can only make noises in the real world and is forced to do charades which Prince Edward continually misinterprets.

There is enough for the kids to enjoy (well, maybe not boys between 11 and 16), enough for the adults – and enough for the cynics as well.

1.Enjoyment, success with audiences of all ages, its appeal?

2.The Disney animation, the style, the 30s and 40s, being mocked, the range of characters and animals, the songs and their melodies as well as parody, delight?

3.The live action, New York City, authentic, cartoon characters in New York, Times Square, the streets, parks, restaurants, homes? The costumes?

4.The musical score, songs of dreams, cleaning the house, ‘How Will I Know’ and the climactic songs?

5.The set-up for the fairy tale: Giselle, a poor Cinderella type, her song, her dreams, all the animals participating – with the comic slapstick touches? The prince, the evil queen’s stepson, his riding the horse, hearing Giselle, Giselle falling into his lap, the preparations for marriage, the old hag with the apple, the well, the chipmunk?

6.Giselle and the fall, landing in Times Square, the workers, the chipmunk and his sounds, Prince Edward and his holding the sword to them? Nathaniel and his arrival?

7.Giselle in New York, trying to be kind, her crown being stolen, on the first floor trying to get into the palace, her falling, Robert catching her, her story, Robert and Morgan? Her dress and made from the curtains? Cleaning the house, the help of all the animals? Her bath and puzzle about where the water came from? The encounter with Nancy, falling into the corridor? Her response to the divorcees – and the later influence and their reconciling? Her talking about how happy they looked and their eyes? Her intrinsic happiness, going out, singing in the park, even Robert joining in? Edward and her meeting with him?

8.Robert, his work, with the divorcees? Widower, love for his daughter? Dating Nancy for five years, the plan to marry? At home, the puzzle about Giselle, Edward’s arrival, the attempts on Giselle’s life, the songs, seeing Giselle tell Morgan bedtime stories?

9.Nancy, in herself, her arrival, suspicions, the plans for the marriage, the meals? Prince Edward, the ball, the attraction?

10.The chipmunk, his talk, the slapstick comedy, his saving Giselle’s life?

11.Nathaniel, his serving the queen, infatuated with her, going to New York, seeing the queen in the various liquids, the attempts on Giselle’s life, the apple, the poison, the restaurant?

12.Edward, in New York, awkward, expecting people to sing, behaving in a cartoon-like way? The puzzle about the date, going on the date with Giselle?

13.The ball, Giselle’s preparation, Edward and Nancy, the dances, the queen appearing? The anger of the queen, her coming through the well? Her stepson, the marriage? Turning into a dragon, the dragon fight and the slaying of the dragon?

14.The cartoon ending with Edward and Nancy?

15.The real-life ending, the shop, the fashions, the happy family?

PLAYED

US/UK, 2006, 87 minutes, Colour.
Nick Rossi, Sile Birmingham, Gabriel Byrne, Roy Dotrice, Vinnie Jones, Patsy Kensit, Val Kilmer, Bruno Kirby, Anthony La Paglia, Joanne Whalley.
Directed by Sean Stanek.

Played is a thriller set in both London and Los Angeles. It was co-written by its star Nick Rossi with director Sean Stanek.

The film has a very strong cast – most of them in cameo roles but which are played forcefully. (Val Kilmer and Joanne Whalley were married for many years and both appear in this film, but not together.)

Nick Rossi portrays a small-time London criminal who becomes involved with a corrupt detective, played by Vinnie Jones, a ruthless hit-man played by Patrick Bergen. His girlfriend is played by Joanne Whalley. He has to go to America after serving a prison sentence and eliminate the Patrick Bergen character under the orders of British crime boss, Roy Dotrice.

When he is wounded, he is picked up by a contact, played by Val Kilmer. In the meantime, Gabriel Byrne plays a sinister presence who is instrumental in bringing the film to a close.

The film is a mixture of American style and British style in its presentation of the criminal worlds.

1.The impact of the British segments, American segments, the contrast? Common gangster themes?

2.London, the various areas, wealth, poor apartments, hotels, mansions?

3.The title and the question who plays whom? Cynical touches? The presence of evil?

4.The introduction: Ray, his being shot, the phone call, Dylan coming to help him, handling the situation, driving him, keeping him conscious, the taco story, Dylan burning the house? The reprise of these sequences later in the film?

5.London, Bryce as the corrupt detective, Vinnie Jones’s style? The contact with Riley? In the restaurant, the shooting? The collecting of the gang, the commission to get the heroin, Ray, Terry, Nathan? Nathan and the lookout, the dropped gun, his death? Riley and Bryce, getting heroin, deceiving Ray, Ray taken by the police?

6.Ray, eight years in prison, Terry’s death from an overdose, Maggie not visiting him? The effect? His release, going to see Cindy, trying to help her to become clean? His memories of Terry?

7.Danny and Bryce, the set-up for Ray, the confrontation, Ray and his breaking Danny’s nose? Maggie, meeting her again, getting her to help? His visit to Jack, memories of Terry, Jack giving him the commission to kill Riley?

8.Charlie and Los Angeles, Bryce’s hold over him with the videotape? His commission to Ray? Ray coming to the US, meeting Eddie at the airport, a mystery man? The contract, the tape, Bryce and his hold over the others? Riley and his girlfriend? Ray and his visit, the threats, his return, shooting Riley? Leaving the information, the credit cards? Going to the appointment, seeing Samantha? The police and the interrogation?

9.Samantha, the police, questions? The gun, the money, her shooting Ray?

10.His return to London, the confrontations, Danny and killing him, Maggie and her help, Bryce and the issue of the tape, the phone calls, Jack and his shooting of Bryce? His blaming Ray for his son’s death, their discussion, his leaving Ray to Eddie? Bryce responding to the tip-off leading to his death? Eddie and Maggie’s phone call to him?

11.Ray, walking the streets, wounded, repeating Dylan’s words that he would not die?

12.A satisfactory glimpse of gangster worlds?

HIGH SCHOOL MUSICAL

US, 2006, 93 minutes, Colour.
Zac Efron, Vanessa Anne Hudgins, Ashley Tisdale, Lucas Grabeel, Alyson Reed, Corbin Bleu.
Directed by Kenny Ortega.

High School Musical was an extraordinary success on the Disney Channel. The ratings were very high indeed and led to concerts, stage performances and a national tour in the United States. The same happened in other countries around the world. The film then led to two sequels.

It is surprising to find a film like this in 2006. It is certainly not hard rock. In fact, except for a touch of hip-hop it is very soft rock. And most of the songs are not even that. It is as if Grease had been written by the Carpenters and a touch of Fame had been added.

The film is a throwback to the romantic days of the 50s and 60s. Zac Efron portrays the basketball hero of the Albuquerque High School. His father is the coach. Vanessa Anne Hudgins portrays a mathematical whiz kid who moves to Albuquerque. The villain of the piece (in the vein of Mean Girls and other films of this genre) is Ashley Tisdale and her dancing partner in the songs is Lucas Grabeel playing her brother. Alyson Reed, almost out of Grease, is the drama teacher with a high histrionic style. Corbin Bleu is the best friend.

With these conventional characters, in a nicer-than-nice high school of 2006 (one wonders where all the schools with knives, security guards … have gone?) the film then offers basketball matches as well as auditions for the school musical.

There are romantic songs in the vein of the 50s and 60s, some choreography, led by the director Kenny Ortega, a choreographer who directed a number of episodes for television as well as the feature films Hocus Pocus (with Bette Midler, Sarah Jessica Parker and Kathy Najimy as Witches) and Newsies with Robert Duvall and Christian Bail in the early 90s.

The film is old-fashioned and safe – designed for the average American household and its traditional values.

1.The appeal of the film? The audience? Children? Parents? The explanations for its extraordinary success? Sequels?

2.The opening, New Year’s, the party, the youngsters, Troy and his playing basketball with his father, going to the party, having to sing karaoke? Gabriella, reading her book, her mother urging her to the party, the karaoke? The success of the song? “A New Start”? Troy and Gabriella attracted? Exchanging phone numbers?

3.The Albuquerque settings, the town, homes, the high school? Classrooms, gym, auditoriums? The students, clothes?

4.The musical score, the songs, romantic, soft, the touch of rap, the touch of light rock?

5.Troy, at school, his friends, especially Chad Danworth, his playing basketball, the big match? His discovering Gabriella at school? Friendly with her? The possibility of the auditions? His wanting to go, his father’s attitude, his friends ridiculing musicals? His hiding behind the mops? Meeting Gabriella? Their singing with the composer? Miss Darbus? hearing them? Call-back?

6.Gabriella, her mother transferred, entering the school, seeing Troy? Her being approached by the club, her mathematical skills? Her interest in the songs? Finding Troy, singing?

7.The reaction of the basketballers? The characters, Chad, Zeke and his baking? The girls in the intellectual group? Preparation for the competition?

8.Feeling that the musical was a threat, their plan, the video, showing it to Gabriella, her being upset? Her avoiding Troy, his going to the house, his coming and apologising? Troy and his talk with the team, his father’s urging him to the team? His not doing (**shooting??) baskets well?

9.The music, the songs, the composer? Her playing the piano? The rehearsals for Gabriella and Troy?

10.Sharpay and her brother? The mean girl, the dumb brother? The auditions, her expectations, the Broadway style? Her attacks, her mischievous attitudes, changing the audition time? Ryan and his being slow on the uptake?

11.The change of heart of the basketballers and the club? The plan, the match, the competition? The fire alarm? Everybody going to the audition, Miss Darbus’s response, everybody applauding? Troy’s father?

12.The musical numbers, in the gym, outside, the groups, the finale – and even Sharpay and Ryan being nice? A nice musical? Wholesome?

BULLDOG DRUMMOND’S BRIDE

US, 1939, 54 minutes, Black and white.
John Howard, Heather Angel, H.B. Warner, Reginald Denny, E.E. Clive, Elizabeth Patton, Eduardo Ciannelli, John Sutton.
Directed by James P. Hogan.

Bulldog Drummond has been portrayed many times on screen from Ronald Colman during the 1920s and including Ralph Richardson in the 1930s. Walter Pidgeon appeared as Bulldog Drummond in 1952, Calling Bulldog Drummond.

However, there was a series of brief films of the 1930s featuring the action detective and his sidekick. They were the kinds of series that were made of The Saint, The Falcon, Mr Moto, Charlie Chan. They provided entertainment as supporting features. They are parallel to the television series of later decades.

The stories are all based on the novels by Herman C. Mc Neile, who went under the pseudonym of Sapper.

In the 1930s series, Ray Milland appeared as Bulldog Drummond but the regular portrayer was John Howard. Howard had appeared as Ronald Colman’s brother in Lost Horizon but found his niche in this kind of film. Ray Milland went on to bigger things.

The film and the stories parallel Sherlock Holmes in some way with Bulldog Drummond having an odd sidekick. He is played quite irritatingly by Reginald Denny in the series, always thinking of something else, pratfalls, making mistakes, yet very loyal. Drummond’s girlfriend, Phyllis Clavering, is usually played by Heather Angel. However, Colonel Neilson is played by different actors in the different films. These include Sir Guy Standing and, Cecil B. de Mille’s Jesus from The King of Kings, H.B. Warner. Of particular interest in Bulldog Drummond Comes Back is the presence of John Barrymore as Colonel Neilson. He enjoys himself by taking on a number of disguises – once again in the Sherlock Holmes vein.

There is a variety of villains, probably the most striking is Eduardo Ciannelli in Bulldog Drummond’s Bride, a sinister robber-murderer who is instructing his own sidekick.

The films are brief, black and white photography, inexpensive sets. They capitalise on the British hero, who is an annoyance to Scotland Yard, but whom Scotland Yard admits has an ability to discover the truth about robberies and murders. Over the series, Phyllis Clavering, Drummond’s girlfriend, goes through a number of adventures as well as delays in their marriage but finally the ceremony is performed in Bulldog Drummond’s Bride.

1.The popularity of Bulldog Drummond in literature? On film? The variety of series? The actors portraying him? British, stiff upper lip, man of action, beside the law?

2.The production values, black and white photography, inexpensive sets? Musical score?

3.Bulldog Drummond as a character, between the wars, his own experience, his flat in London, his friendship with Algy Longworth and tolerating him? The interactions with Colonel Neilson? The relationship with Phyllis, rescuing her, putting off the marriage, finally marrying her? His ability in detective work? His being the hero of novels rather than real life?

4.Phyllis, her love for Hugh, being rescued, the marriage put off, her taking a firm stand, the eventual marriage in France after the rescue?

5.Algy, dithering, mistakes, concerned about the birth of his child, wanting to be at its christening? Saying the wrong thing? Doing the wrong thing?

6.Tenney, as a butler, sharing the activities? His sardonic remarks? Usually coming to the rescue with a solution? In action?

7.Colonel Neilson, Scotland Yard, his assistance, his distrust of Hugh’s actions? His agreeing with Hugh’s theories? Going his own way? In on the action? While not letting Drummond know all the information? His various disguises in Bulldog Drummond Comes Back? The other members of Scotland Yard and their attitude towards Drummond?

8.The villains, Henry Armides, the robbery in Bulldog Drummond’s Bride, the killing of the bank manager, the search for the money, his associate, going to France, the bombs, the attack? The other villains – counterfeit plots, abductions? Villains wanting revenge on Drummond for the execution of their relatives? J. Carroll Naish as the sinister villain in Bulldog Drummond Comes Back? Fay Holden (Andy Hardy’s mother in so many films) as a villain in Bulldog Drummond Escapes?

9.Films illustrating the styles of the 1930s? For film historians? Film buffs?

BULLDOG DRUMMOND ESCAPES

US, 1937, 67 minutes, Black and white.
Ray Milland, Guy Standing, Heather Angel, Reginald Denny, Porter Hall, Fay Holden.
Directed by James P. Hogan.

Bulldog Drummond has been portrayed many times on screen from Ronald Colman during the 1920s and including Ralph Richardson in the 1930s. Walter Pidgeon appeared as Bulldog Drummond in 1952, Calling Bulldog Drummond.

However, there was a series of brief films of the 1930s featuring the action detective and his sidekick. They were the kinds of series that were made of The Saint, The Falcon, Mr Moto, Charlie Chan. They provided entertainment as supporting features. They are parallel to the television series of later decades.

The stories are all based on the novels by Herman C. McNeile?, who went under the pseudonym of Sapper.

In the 1930s series, Ray Milland appeared as Bulldog Drummond but the regular portrayer was John Howard. Howard had appeared as Ronald Colman’s brother in Lost Horizon but found his niche in this kind of film. Ray Milland went on to bigger things.

The film and the stories parallel Sherlock Holmes in some way with Bulldog Drummond having an odd sidekick. He is played quite irritatingly by Reginald Denny in the series, always thinking of something else, pratfalls, making mistakes, yet very loyal. Drummond’s girlfriend, Phyllis Clavering, is usually played by Heather Angel. However, Colonel Neilson is played by different actors in the different films. These include Sir Guy Standing and, Cecil B. de Mille’s Jesus from The King of Kings, H.B. Warner. Of particular interest in Bulldog Drummond Comes Back is the presence of John Barrymore as Colonel Neilson. He enjoys himself by taking on a number of disguises – once again in the Sherlock Holmes vein.

There is a variety of villains, probably the most striking is Eduardo Ciannelli in Bulldog Drummond’s Bride, a sinister robber-murderer who is instructing his own sidekick.

The films are brief, black and white photography, inexpensive sets. They capitalise on the British hero, who is an annoyance to Scotland Yard, but whom Scotland Yard admits has an ability to discover the truth about robberies and murders. Over the series, Phyllis Clavering, Drummond’s girlfriend, goes through a number of adventures as well as delays in their marriage but finally the ceremony is performed in Bulldog Drummond’s Bride.

1.The popularity of Bulldog Drummond in literature? On film? The variety of series? The actors portraying him? British, stiff upper lip, man of action, beside the law?

2.The production values, black and white photography, inexpensive sets? Musical score?

3.Bulldog Drummond as a character, between the wars, his own experience, his flat in London, his friendship with Algy Longworth and tolerating him? The interactions with Colonel Neilson? The relationship with Phyllis, rescuing her, putting off the marriage, finally marrying her? His ability in detective work? His being the hero of novels rather than real life?

4.Phyllis, her love for Hugh, being rescued, the marriage put off, her taking a firm stand, the eventual marriage in France after the rescue?

5.Algy, dithering, mistakes, concerned about the birth of his child, wanting to be at its christening? Saying the wrong thing? Doing the wrong thing?

6.Tenney, as a butler, sharing the activities? His sardonic remarks? Usually coming to the rescue with a solution? In action?

7.Colonel Neilson, Scotland Yard, his assistance, his distrust of Hugh’s actions? His agreeing with Hugh’s theories? Going his own way? In on the action? While not letting Drummond know all the information? His various disguises in Bulldog Drummond Comes Back? The other members of Scotland Yard and their attitude towards Drummond?

8.The villains, Henry Armides, the robbery in Bulldog Drummond’s Bride, the killing of the bank manager, the search for the money, his associate, going to France, the bombs, the attack? The other villains – counterfeit plots, abductions? Villains wanting revenge on Drummond for the execution of their relatives? J. Carroll Naish as the sinister villain in Bulldog Drummond Comes Back? Fay Holden (Andy Hardy’s mother in so many films) as a villain in Bulldog Drummond Escapes?

9.Films illustrating the styles of the 1930s? For film historians? Film buffs?

BULLDOG DRUMMOND COMES BACK

US, 1937, 64 minutes, Black and white.
John Barrymore, John Howard, Louise Campbell, Reginald Denny, E.E. Clive, J. Carroll Naish.
Directed by Louis King.

Bulldog Drummond has been portrayed many times on screen from Ronald Colman during the 1920s and including Ralph Richardson in the 1930s. Walter Pidgeon appeared as Bulldog Drummond in 1952, Calling Bulldog Drummond.

However, there was a series of brief films of the 1930s featuring the action detective and his sidekick. They were the kinds of series that were made of The Saint, The Falcon, Mr Moto, Charlie Chan. They provided entertainment as supporting features. They are parallel to the television series of later decades.

The stories are all based on the novels by Herman C. McNeile?, who went under the pseudonym of Sapper.

In the 1930s series, Ray Milland appeared as Bulldog Drummond but the regular portrayer was John Howard. Howard had appeared as Ronald Colman’s brother in Lost Horizon but found his niche in this kind of film. Ray Milland went on to bigger things.

The film and the stories parallel Sherlock Holmes in some way with Bulldog Drummond having an odd sidekick. He is played quite irritatingly by Reginald Denny in the series, always thinking of something else, pratfalls, making mistakes, yet very loyal. Drummond’s girlfriend, Phyllis Clavering, is usually played by Heather Angel. However, Colonel Neilson is played by different actors in the different films. These include Sir Guy Standing and, Cecil B. de Mille’s Jesus from The King of Kings, H.B. Warner. Of particular interest in Bulldog Drummond Comes Back is the presence of John Barrymore as Colonel Neilson. He enjoys himself by taking on a number of disguises – once again in the Sherlock Holmes vein.

There is a variety of villains, probably the most striking is Eduardo Ciannelli in Bulldog Drummond’s Bride, a sinister robber-murderer who is instructing his own sidekick.

The films are brief, black and white photography, inexpensive sets. They capitalise on the British hero, who is an annoyance to Scotland Yard, but whom Scotland Yard admits has an ability to discover the truth about robberies and murders. Over the series, Phyllis Clavering, Drummond’s girlfriend, goes through a number of adventures as well as delays in their marriage but finally the ceremony is performed in Bulldog Drummond’s Bride.

1.The popularity of Bulldog Drummond in literature? On film? The variety of series? The actors portraying him? British, stiff upper lip, man of action, beside the law?

2.The production values, black and white photography, inexpensive sets? Musical score?

3.Bulldog Drummond as a character, between the wars, his own experience, his flat in London, his friendship with Algy Longworth and tolerating him? The interactions with Colonel Neilson? The relationship with Phyllis, rescuing her, putting off the marriage, finally marrying her? His ability in detective work? His being the hero of novels rather than real life?

4.Phyllis, her love for Hugh, being rescued, the marriage put off, her taking a firm stand, the eventual marriage in France after the rescue?

5.Algy, dithering, mistakes, concerned about the birth of his child, wanting to be at its christening? Saying the wrong thing? Doing the wrong thing?

6.Tenney, as a butler, sharing the activities? His sardonic remarks? Usually coming to the rescue with a solution? In action?

7.Colonel Neilson, Scotland Yard, his assistance, his distrust of Hugh’s actions? His agreeing with Hugh’s theories? Going his own way? In on the action? While not letting Drummond know all the information? His various disguises in Bulldog Drummond Comes Back? The other members of Scotland Yard and their attitude towards Drummond?

8.The villains, Henry Armides, the robbery in Bulldog Drummond’s Bride, the killing of the bank manager, the search for the money, his associate, going to France, the bombs, the attack? The other villains – counterfeit plots, abductions? Villains wanting revenge on Drummond for the execution of their relatives? J. Carroll Naish as the sinister villain in Bulldog Drummond Comes Back? Fay Holden (Andy Hardy’s mother in so many films) as a villain in Bulldog Drummond Escapes?

9.Films illustrating the styles of the 1930s? For film historians? Film buffs?

THE CONTRACT

US, 2006, 92 minutes, Colour.
Morgan Freeman, John Cusack, Jamie Anderson, Alice Krige, Megan Dodds, Jonathan Hyde, Bill Smitrovitch.
Directed by Bruce Beresford.

The Contract is an average thriller, filmed in beautiful surroundings in Washington State and its mountains.

The film focuses on Morgan Freeman, this time as the villain. However, with his screen presence, articulate speech and gravity, it is hard to take him seriously as a villain. However, he brings his qualities with sinister edge to this role. John Cusack is a widower, trying to bond with his teenage son who is resentful, experimenting with drugs. They go on a bonding trip into the mountains, only to connect with Freeman on the run from the police. Alice Krige is a sinister FBI agent. Jonathan Hyde is also sinister as the leader of the group who go to find Freeman in the mountains. He leads a ruthless group.

The film is interesting in itself, however, it could have been much more interesting and tense. The strength is in Morgan Freeman’s presence, the conspiracy background, the beautiful scenery.

The film was directed by Bruce Beresford who began filming almost forty years earlier with The Adventures of Barry McKenzie?. With successes in Australia including The Getting of Wisdom, Don’s Party and Breaker Morant, Beresford went to the United States where he directed a number of very interesting films including Tender Mercies and Driving Miss Daisy. However, his career has ups and downs in the material that he takes on – especially some of his thrillers like Silent Fall. However, he made the very interesting And Now For Pancho Villa As Himself.

1.The impact of the film? Colourful thriller? Conspiracy theory thriller?

2.The opening in New York, the rooms? The transition to Washington State, the countryside, the mountains, the waterfalls, caves? The finale in Washington DC? Authentic atmosphere? Atmospheric score?

3.The title, Frank Carden and his gathering the group, their being his squad, his background and being trained by the army, an exterminator? His going into private practice? Not questioning where his contracts came from? The new member of the group? Their flying to Washington? The murder of the young man with the hit-run on the street? The target being his father? The FBI and others thinking that the president during his visit was the target? Ray and his realisation of what the truth was, confronting Carden? Seeming to prevent the contract being carried out? The irony of his hearing later of the death of the target? Carden and his comments about always keeping his contracts?

4.Frank Carden, Morgan Freeman’s screen presence, style of speaking, dominance? With the rest of the group, their loyalty, Davis and his being new and questioning? In Washington, the death of the young man after their confronting him with damaging photos? The accident and Carden going to hospital, his getting out? The group going after him to save him? With the police, the roadblock, the car crashing down the mountainside, Carden with the deputy? In the river, the deputy’s death? Carden getting away, handcuffed? The chance encounter with Ray and his son? The gun, Ray and his taking Carden, leading him? Chris seeing the group kill the truck driver? Going into the mountains, Carden and his keeping up, immaculately dressed, immaculately spoken? The dangers, climbing down the cliff, his saving Chris? In the cave? The food? Continuing the journey, encountering Sandra and her boyfriend, taking them along, going over the Murrain and the bridge? Finding the farm? Turner and the others arriving, Carden and his attempts to escape? Davis trying to shoot him? The shootout, his taking Chris as a hostage? His going to the funeral, aiming at the target? Ray disrupting him? Davis trying to kill him? His killing Davis? Giving Ray the information about where Chris was? In Washington, his threatening the FBI agent that nothing was to happen to Ray and his son? His completion of the contract?

5.Ray, former policeman, his wife’s death from cancer, the tension with his son? As a coach? Reprimanding his son, offering him the trip, their going into the mountains? Chris and his age, experimental smoking, rebelliousness, grief at his mother’s death? Their going into the mountains? Chris and his local knowledge? The encounter with Carden, the gun, Chris seeing the trucker being shot? Leading the way, going down the cliff face, his slipping, Carden saving him? Ray and his agreeing with his son? Digging his heels in and determined to take Carden in? The pursuit, across the Murrain, dismantling it? The young man being shot? Going to the farm, his decision to let Carden go free? His son being abducted? Going back, the television, realising who the target was, going to the cemetery, the confrontation with Carden, getting his son back? Hearing the news of the contract being completed? The image of father and son, talking, the experience shared, bonding?

6.Sandra and her boyfriend, not a happy couple, camping, trying to reconcile? Their having to go with Ray? The young man being shot? Sandra, her finally shooting the attackers? Her presence at the barbeque at the end?

7.Gwen Miles, the FBI, targeting victims for the government? The target for the contract? His opposing stem cell research? Her urging Davis by phone to kill Carden? Davis, cantankerous, seeming to want the money, contract killer, orders from Gwen? Tracking Carden, the attempts to kill him, at the cemetery, his own death?

8.Turner and the other members of the group, playing chess on the computer? Having the technical know-how? The expertise, snipers, trackers, helicopter pilots? Their being outwitted? The helicopter, the shooting, the crash? The confrontation at the cottage?

9.The chief of police, his deputy? Considered hicks? Their doing their job, getting the coffee for the FBI, still keeping in contact with the helicopter? On television at the end?

10.The background of conspiracies, government, agencies targeting victims? The role of the FBI? The local police?

11.Popular ingredients for this kind of conspiracy and tracking thriller?

GREEN CARD

US, 1990, 107 minutes, Colour.
Gerard Depardieu, Andie Mac Dowall, Bebe Neuwirth, Gregg Edelman, Robert Prosky, Anne Wedgworth.
Directed by Peter Weir.

Green Card is the lightest of Peter Weir’s films. He made it immediately after The Truman Show. It preceded Fearless. Weir had made an impression in Australia with Picnic at Hanging Rock, Last Wave and Gallipoli and moved onto the international scene with The Year of Living Dangerously and Witness. He makes comparatively few films but they are finely crafted including Master and Commander.

Green Card is topical in terms of arranged marriages for people visiting the US on tourist visas to remain there because of marriage – and then able to get a Green Card to work. Andie Mac Dowall portrays a young woman who is a horticulturalist and could inherit a large garden if she had the money. She agrees to marry Gerard Depardieu, a composer. They go through the marriage formalities, are questioned by the authorities, spend a lot of time in each other’s company in order to prepare for a more detailed interrogation – and fall in love. Both actors are quite endearing in this film. Bebe Neuwirth is amusing as Andie Mac Dowall’s best friend.

1.The work of Peter Weir, issues, the light tough?

2.A piece of Americana, arranged marriages, the role of the Green Card, the role of the authorities?

3.The New York settings, the film at home in New York, the apartments, gardens, restaurants, streets? The score?

4.The facts of the marriage, the issue of the Green Card? Later romance? The advertisement: the story of two people who got married, met, and then fell in love?

5.Bronte, her character, her literary name and her feelings towards it, her family, the visit of her father the writer, her mother? Her relationships? Her gardens, her motivation?

6.Georges Faure, the composer, his life, going to New York, his composing?

7.Anton, the agent for the arranged marriages, meeting in Paris, the arrangement in New York, engineering the meeting between Bronte and Georges, his working in the restaurant? Going for the ceremony, the aftermath, the other brides and grooms and their joy? The immediate separation? Bronte seeing Georges at the restaurant with Phil? The issue of the vegetarian? His being sacked?

8.The interrogation, the couple together, the issues? The need for a further examination?

9.Georges moving in, their studying the details of each other’s lives, working together, information, being more at ease, yet the tensions, making up the stories, the untruths, inventing? Bronte banning him smoking in the house, from coming into the garden? Georges and his easy way, making the coffee, talk, looking at the photos?

10.The shopping, the meeting with Lauren, her comment about Jung and the French? Being invited to dinner, the effect? Bronte and her busybody neighbour, the questions, the panel asking her questions about moving in, the old lady in the lift, wanting to know about the authorities?

11.The visit to Lauren’s parents, the chat, Georges coming with Lauren, talking with him, the tension about his playing the piano, his modern work, the tenderness, the poem about the trees – and the effect on Lauren’s mother?

12.Bronte’s parents, seeing Georges as the handyman, the father talking with him, seeing through him, the marriage certificate, the father talking about his marriage to his wife, the mother being happy?

13.The build-up, the clashes, the need for separation? Waking up, running to the office? The questions, Bronte answering all of hers, realising that she loved Georges, Georges and his answers, the mistake? The official and his being found out?

14.The end, Georges leaving the country, the farewell to Bronte, realising that they were in love? The possibilities for the future – but the film ending?

HOW SHE MOVE

Canada, 2007, 92 minutes, Colour.
Rutina Wesley, Dwain Murphy, Tre Armstrong.
Directed by Ian Iqbal Rashid.

Sometimes film reviewers become more expert in areas that they don’t necessarily aspire to. It’s just that they see so many films. How She Move is a case in point. In recent years we have seen Step Up, Step Up 2: the Streets and Stomp the Yard. We know something about ‘Stepping’, a kind of stomping, athletic style of dance movement that has become something of a visual version of rap, with ‘crews’ and ‘teams’ from the streets vying with each other. It can sometimes be a new type of artistic gang competitiveness, if not warfare.

Set in Toronto, this variation on the theme (much the same plots with plenty of energetic step scenes) focuses on a young woman who has high hopes and good results for going to medical school. She has been able to get out of the neighbourhood. However, her older sister dies of an overdose and the family money for her course is used up. She tries for a supplementary exam for a scholarship but, in the meantime, gets caught up in ‘stepping’ with the possibility of winning the $50,000 competition prize money. Along the way, there are plenty of dramatics, hostility from friends, rivalries in the crews, pressure from her mother.

Rutina Wesley gives it all she’s got for another morale-boosting story for people to have more self-confidence and benefit by their talents.

1.The popularity of dance films? This variation on the themes? The down-and-out, the opportunities, the competitions, the clashes, romance?

2.The Canadian settings, the city, the poverty, the streets, homes, schools? Authentic atmosphere?

3.The music, performance, dance? The choreography? The step-dancing?

4.The focus on Raya, her being in a private school, her mother and the difficulties of keeping her there? The father moving in and out of the family? The background of her older sister, the dance training? Her sister’s death, the drug overdose? The funeral? The family’s lack of finance?

5.At home in Toronto? The memories of her growing up? Meeting her friends, the criticism, Michelle? The fact that she went to a private school? At home, with her mother, the family?

6.Bishop, the leader of the step-dancing group? All males? Their performance? Michelle, Raya, trying to get Bishop’s attention? The various devices for his concern about them? His interest in Raya?

7.Michelle, her personality, the challenge to Raya, the dance-off? The choreography – and it culminating in the fight? The school principal?

8.Raya, tutoring Michelle? The deal between the two of them? Her wanting to study, the scholarship exam? Her hopes for going back to school? The failure of the exam according to Raya?

9.Raya, the discussions with Bishop, her joining the group, the rehearsals, the reaction of the other members of the group? The heat, her not following the routine, Bishop and his anger, her being dismissed from the group?

10.The rival group, Raya and her going to them, their accepting her? Michelle and her change of heart? Raya being accepted by the group?

11.Raya’s mother, discovering what had happened, coming to Detroit, wanting her to go out of the competition? The fact that she did well in the exam, the scholarship?

12.The dance final, the spectacular dancing, the victory? The celebrations?

13.The happy ending, Bishop and Raya, her mother happy? Her father returning home?

14.The popular ingredients – the familiar ingredients? Enhanced by the dancing?