LOST

UK, 1956, 89 minutes, Colour.
David Farrar, David Knight, Julia Arnal, Eleanor Somerfield, Anthony Oliver.
Directed by Guy Green.

Lost was filmed on location around London, recognisable locations, especially in the west. The culmination is on the cliffs of Dover and the English Channel.

The film is, in many ways, a routine story about a baby-snatching. Things are complicated when conmen get involved in trying to extort money from the parents.

David Farrar is a strong presence as the detective in charge of the case. David Knight and Julia Arnal are the parents – Julia Arnal not always convincing in her performance, irritating in her grief more than being sympathetic. However, the film is of interest in having a number of prominent British actors of later decades in cameo roles: Dandy Nicholls, Mona Washbourne, Joan Sims, Joan Hickson, Barbara Windsor, Thora Hird, Marjorie Rhodes.

In many ways, the film seems quite low-key compared with any abduction film of later decades.

1.An interesting London film? The location photography in the streets and parks of London? The English Channel coast?

2.The title, the focus on the baby, on the parents, on the nanny, on the woman who took the baby, on the police and their legwork to solve the case?

3.The background of the parents, the American embassy? Lee and his marrying Sue, her European background? Arriving home, the news of the child missing, Sue at the dinner, her grief? Sue and her outbursts against the police? Lee and his trying to follow the directions of the police? Appease his wife? Acting without police knowledge, going to meet the extortionists? The fight? Going to the coastal town, running to the top of the cliffs, the confrontation with the woman? The endangerment of the baby? Being reunited with the child?

4.The nanny, going into the shop, the discussions with the woman in the shop, the customers? Finding the baby gone?

5.Inspector Craig, his methods, the criticism by Sue? His getting the material from the site, the torn book and locating the place? The button and locating the extortionist? The detailed legwork, his relationship with Lyell, with Sergeant Cook? His patience, determination? A strong character? With the doctor at the end, the heroic touch on the cliffs, rescuing the child?

6.The police, Lyell, Cook, their personalities, their work?

7.The extortionists, the phone calls, the rendezvous, the cycle, the fight?

8.The variety of incidental characters, local flavour, in the chemist’s shop, landladies, greengrocers’ wives, managers of boarding houses, secretaries for the police? Adding to the sense of realism?

9.The popularity of this kind of abduction story and its resolution?

THE INTERVIEW

Australia, 1998, 104 minutes, Colour.
Hugo Weaving, Tony Martin, Aaron Jeffrey, Paul Sonkkila, Michael Caton.
Directed by Craig Monahan.

The Interview is an intense psychodrama, well played by Hugo Weaving as a man, seemingly an innocent, charged with crimes and interrogated by Tony Martin and Aaron Jeffrey as detectives. This is a battle of wits for survival, for cunning, for playing power games and for solving a crime. The film plays on the ordinary citizen's fear of the police as well as the tradition of Australian anti-authoritarianism. The ending is ambiguous. The director says the opinion we take should reveal something of our own attitudes to the police to ourselves. Intense psychodrama.

1.The impact of the film? Its multi-awards and acclaim?

2.The style of the film, small-budget, the locations, the interiors and exteriors, the muted colour, the sound engineering and atmosphere, the score, editing, camera angles? The blend of the real and surreal?

3.The title, Steele and the interrogation of Eddie Fleming? The officers, Internal Affairs investigation? The verbals, the tapes, the videos? The interactions, personal, those watching, the re-watching of the tapes?

4.The fishbowl atmosphere, the radio, the camera? The focus on Eddie?

5.The raid, early in the morning, the guns, the police, Eddie in bed, the intrusion on the private citizen, brutality, no reasons given, the experience of the violence, his being taken into the room, wetting his pants, changing? The landlady?

6.The officer and the interview, the room, the visuals, the ‘Kafkaesque’ angles? Audio, video? Internal Affairs?

7.The interview, the given time, the tape, the questions, the brutal impact? The issue of food?

8.Eddie: the loner, his job, on the dole, the car, the shops, Ballarat, suspect? Beecroft, the story and the visuals? The others? The plausibility? The victim? Attention, the victimised? The lawyer and the truth? The food? Controlled and control? The discussions with Inspector Jackson? The officers from Internal Affairs? The twist? The shrewdness?

9.Steele and his reputation, getting results, Prior? The clashes? The refresher course? Video, handling? The information? Exercising wit and shrewdness? Deceived? The pressure, Jackson? The journalist? The pressure from Internal Affairs? Fixing things? The survivor? Character? Police, the tapes, the intervals?

10.Prior and his being young, his attitude, lording it over others, violence, swearing, caught, reactions?

11.Internal Affairs, their work, secrecy, agenda, handling the situation, using the tapes?

12.Jackson and his authority, the media, the truth, with Eddie, not shaking hands?

13.The role of the journalist, the leaks, the warnings?

14.Mrs Beecroft and her story?

15.The importance of police work, the killers, the results, the legwork? The interviews, the petrol station? The police and the newspapers? The new squad?

16.Individuals, the state, police, society? The ambiguity of the ending – and the smile?

RULES OF ENGAGEMENT

US, 2000, 128 minutes, Colour.
Tommy Lee Jones, Samuel L. Jackson, Guy Pearce, Ben Kingsley, Bruce Greenwood, Anne Archer, Blair Underwood, Philip Baker Hall, Amidou, Mark Feuerstein, Nicky Katt.
Directed by William Friedkin.

Rules of Engagement was released in 2000, a year before the attack on the Twin Towers. Made at the end of the 1990s, it reflected the Gulf War of the early 90s, the fears about Saddam Hussein in Iraq, the attacks on American marines in Beirut and Yemen as well as the attacks on American embassies in Tanzania and Kenya in 1998. The story was written by James Webb, who served in Vietnam and was multi-decorated, who served as secretary for the US Navy under President Reagan. (After the film was released, he stood for the senate and his son served in Iraq.) The screenplay was written by Stephen Gaghan who wrote such films as Traffic and wrote and directed Syriana. There is strong political background to the making of this film.

The film was directed by William Friedkin who won an Oscar for directing The French Connection and made an impact with directing The Exorcist. These seem to have been his peak films and while his career continued for many decades, his films were often dismissed and his reputation as a film director lessened.

The film has a strong cast with actors doing their usual competent roles, Tommy Lee Jones as a Vietnam veteran and lawyer, Samuel L. Jackson as the commander who is brought to court responsible for a massacre in Yemen. Guy Pearce is the young prosecuting officer. Bruce Greenwood appears as the ambiguous national security adviser while Ben Kingsley is the ambassador to Yemen with Anne Archer as his wife.

In the light of September 11, 2001, the film seems even more prescient as well as sinister. After 2001 a number of films explored and dramatised themes of the war against terror – including The Kingdom, set in Saudi Arabia.

The film offers great ambiguities and means a great deal of reflection. The focus on Samuel L. Jackson’s character as brave, decorated highly from Vietnam, rescuing the ambassador and his wife, coming under fire, ordering his marines to shoot into the crowd after some marines died, while there were eighty-three deaths, especially women in children, and hundreds injured. He declared that he saw them firing weapons. No weapons were found. On the other hand, the national security adviser destroyed a tape which indicated that there were armed terrorists among the crowd.

The prosecuting lawyer does not know this and makes a stand about Americans, rules of engagement, defence and the use of deadly force. With the emotional ingredients of seeing wounded women and children, the dying, the film appeals to both head and heart. Tommy Lee Jones portrays an ex-Vietnam officer whose life was saved by Jackson, trying to defend but not being particularly competent. However, he does his best and wins the day.

With the activities of the Americans in Afghanistan and the war in Iraq, with the deaths of many civilians, this film is particularly relevant.

1.The film as pro-American, yet the critique of the rules of engagement and their application? Pre-September? 11, 2001? The film seen in the light of those events?

2.The title, the military, marines, the nature of the rules, Childers knowing them by heart, rules for combat, use of deadly force, defence, protection of men? Legal interpretations?

3.The prologue in Vietnam, the role of Childers, the role of Hodges? The trap, the Viet Cong? The officer and his radio man? Silence? Looking? The shootings? Prisoners of war? The report? Hodges and his retirement, his injuries, studying law, not particularly good? Childers and twenty-eight years of a career, decorated highly? The Viet Cong officer later brought into the court, his being questioned by the prosecutor, his being questioned by Hodges, asked whether he would do the same as Childers? His reply that he would? The final salute to Childers outside the court?

4.The background of the 1990s, the Gulf War, Yemen and the facts, unrest, Islamic jihad, protests, terrorists, attacks on embassies in Africa, violence?

5.The locations for Yemen, the embassy, the streets and the square, the hospital?

6.The situation in Yemen? The later information of reports from the ambassador about dangers? Terrorist activity? The ambassador and the evacuation? His wife and son? The ambassador and his fears, under the desk, hurrying? Childers and his expert saving them? The rule about the flag, Childers taking it down and giving it to the ambassador? The escape? The snipers, the bullet holes in the wall of the embassy, the crowd? Innocent or not? Childers and the marines, the helicopters, the landing, the bravery? Childers’ decision about firing into the crowd, his language, its being recorded, its being used against him? His assistant hesitating at the command? The issue of who could see what was happening in the square? The consequences? The massacre, eighty-three dead, the women and children, the wounded, no weapons found, the press and world opinion?

7.The methods of collecting evidence, being filed, sent to the State Department? Sokal and his attitude towards the cassette, not wanting to look at it, refusing, later watching it, the audience seeing it and knowing what happened, his burning it? The blame for the incident, America, a scapegoat? Sokal and his diplomacy, denials, at meetings, his testimony in the court, his lies, his finally being threatened by Hodges, the information at the end about his retirement?

8.Sokal, national security adviser, the issue of blame? Childers, orders, the law? The choice of Biggs, his background, expertise? His discussions with his staff? Subpoena for evidence? His plan? His considering Childers guilty?

9.Childers, at home, his arrest, reaction? Going to Hodges and asking him? The obligation? The preparation for the trial, his drinking, his past career, service, the gun? The possibility of suicide? The marines being his life?

10.Hodges and the twenty-eight years, the law, his retirement, the celebration and Childers hugging him, going fishing? At home, his son and the arguments, his father and his military reputation? Their being in court at the end?

11.Hodges and his discussions, with the officers, going to Yemen, taking the photographs, the camera which was not broken, seeing the doctor, visiting the wounded, the street crowd threatening him, his running, fear? The wounded child and her calling him a killer?

12.Biggs, his plans, beliefs, not having the tape, playing blackjack, Hodges and his questions about life expectancy?

13.The courtroom proceedings, Hodges sick, the emotions, the judge and his objectivity, Biggs and his interrogations, Childers’ assistant and his testimony? The doctor coming from Yemen? The tapes of the Islamic jihad and the rabble-rousing? The mission to take American lives? Sokal and his lies?

14.The ambassador, Sokal and his veiled threats to him, the ambassador lying in court, his wife looking on, Hodges’ visit and seeing the boy, the wife and her refusing to testify, her priorities?

15.Childers’ words to fire into the crowd, his outburst in the court and the consequences?

16.The argument from his career, his life story, his medals?

17.The Viet Cong witness, his objectivity, answering yes, his final admission that he would have done the same?

18.The final speeches, the presentation of the different perspectives? The jury? The audience and the verdict?

19.Childers and his angers, at the protesters, his living by the codes, rules?

20.Hodges’ father, his son, their congratulating their son and his victory?

21.The ambiguity of the situation, giving orders, the rules of engagement, innocent lives, collateral damage? The relevance of this film to subsequent American activities, especially the war against terror?

OPEN HOUSE

US, 2003, 96 minutes, Colour.
Christine Lahti, Daniel Baldwin, Mark Rendell, Chris Potter, Eva Marie Saint, Rita Moreno, Grace Lin Kung, Colin Cowie.
Directed by Arvin Brown.

Open House is based on a novel by Elizabeth Berg, a woman’s perspective on a broken marriage. Christine Lahti, always a strong screen presence, is a woman who discovers suddenly that her husband wants to leave her and does. She is left with a young teenager who is troubled by the experience and decides he wants to stay with his father. She is not very good at coping – especially with her rather dominant mother, Eva Marie Saint playing against type with a kind of PG raunchiness. However, she finds a genial friend in Daniel Baldwin, an astrophysicist who likes to take on odd jobs that he enjoys. She meets him while he is moving her husband’s books and furniture to his house. She is encouraged by him to go to an employment agency and gradually gets a number of jobs, finally making an impression on a builder with her carpentry skills. However, she has to come to terms with herself, her own self-image, her staying at home as a housewife, her not completing her education. She also takes in a boarder, a sprightly Rita Moreno, who is a good friend. She also encounters a teenager and takes her in, Grace Lin Kung playing Lavender Blue. Her son actually makes friends with these two boarders although at first they are the reason that he leaves home. His father does not want him and he does return home. When the father’s fiancée breaks off the engagement, he wants to come back but, of course, finds no place in the house.

Christine Lahti gives a strong performance as a woman who discovers her weaknesses, tries to cope with them, builds up a stronger character, finds love in the genial Daniel Baldwin.

Direction is by Arvin Brown, a prolific television director.

1.A television movie for home audiences? Portrait of the failure of a marriage, the focus on men, on women, on children? Opportunities and choices?

2.The Boston settings, the suburbs, supermarkets, laundries? Parks and walking dogs? A real world? The atmospheric score?

3.The title, the empty house, the open house for others to come in? The focus on the family, on boarders?

4.Samantha’s voice-over, explanation of herself, her situation, her love for David, her experience of anger, her love for her son, her exasperation for her mother, her relationship with King …?

5.The situation with Samantha, the sexual encounter with her husband, his immediately declaring he wanted to leave? The effect, her reaction, her moods? The breakfast, specially prepared, the television commentator, Colin Cowie, Travis and his disdain, the orange juice? Her nerves, weeping? King arriving for the transporting the luggage? The explanation of the Caravaggio book and the honeymoon? His leaving it behind? Her weeping, trying to get jobs, the phone calls, her not being qualified, not having experience? His giving her a card?

6.David as a character, his reasons for the failure of the marriage, his talk about fire in his belly, his ambitions, not being happy? Abandoning Samantha? Taking up with Carla, the truth about his relationship with her in the past? His manner, work? His relationship with Travis? The arguments with Samantha, the issue of the house and the mortgage? His engagement to Carla, the ring? The irony that it was fake? Travis deciding to live with him, his not being able to cope, Carla leaving him, his return, his speech to Samantha, his self-centredness, her rejection of his proposal?

7.Samantha and her age, experience, as a child, her relationship with her mother, her grief at her dead father, her judging her mother, embarrassed by her? Not going to college? Marrying, happy, cooking, having the house nice? Her reaction to David’s going, going shopping, the sequence of buying the expensive dinner sets – and later using them, by herself?

8.Samantha’s mother, her age, character, friends, going to Salsa classes, a raunchy attitude, matchmaking? Her own explanation of herself, her personality, her grief at her husband’s death?

9.Travis and his age, taking his mother for granted? His reaction to Lydia moving in yet playing the computer games? His reaction to Lavender Blue? His wanting to leave, hugging his mother, returning home, Lavender Blue and the discussions, smashing his room, rebuilding the plane, reminiscing about his mother helping him? Her doing his hair? His mother’s reaction? Lavender Blue becoming a friend?

10.Lydia and her relationship with Thomas, his coming to the house, their arrangement, his proposal, the Thanksgiving dinner and her going to meet Thomas’s daughter, the reaction, called a gold-digger, returning the ring, upset? The band outside, Thomas on his knees? The wedding and throwing the bouquet to Samantha?

11.Samantha and King, talking, at ease, Frank, the jobs, the laundry, walking the dogs? The laundry and the man wanting her to do it, Lavender Blue and her story, taking her in? Giving her the basement? Taking in Lydia? The Thanksgiving and her being by herself, Colin Cowie’s programs? Walking the dog, meeting King, inviting him for leftovers, the sexual encounter? The visit and Lydia coming in? Lavender Blue doing a makeover? The coat? Her mother’s reaction, Colin Cowie on the phone – and her mother putting him up to it? Going to King, King in the bath, asking for a declaration of love? The family supporting her?

12.King in himself, his jobs, size, with Travis, the stars and the telescope, with Samantha’s mother, with Lydia, walking the dogs, the various jobs, his talking, the background of astrophysics, his not wanting to make decisions, happy to do ordinary jobs, take in the world and reflect on it? The relationship with Lydia, her gift of the book? The truth, his ease, declaration of love?

13.Audiences identifying with the characters, their flaws, strengths? The deceiving husbands, the hurts, hopes? Criteria for judging people’s behaviour and morality?

THE ISLAND

US, 2005, 136 minutes, Colour.
Ewan Mc Gregor, Scarlett Johansson, Djimon Hounsou, Sean Bean, Steve Buscemi, Michael Clarke Duncan.
Directed by Michael Bay.

For the first hour of this long action-drama, audiences might be wondering what has happened to director, Michael Bay. He is one of the foremost exponents of slam-bang cinema, chases, explosions and crashes. It worked best in The Rock, was tongue-in-cheek with the Bad Boys movies, went serious for Armageddon and too serious for Pearl Harbour. The Island starts with serious.

After an hour, we are reassured that this truly is a Michael Bay film. And once the chases start, they continue and continue. The protagonists have providence on their side because in ordinary circumstances they would have been killed within minutes. Memories of the old serials come back with their cliffhangers at the end of each episode. You think there is no way out of this tense trap but next week you find there was a safety net or some trick that keeps them going. Here, they fortunately escape from the most highly qualified security company that money can buy: they get on a lorry with huge metal girders that they can successively and successfully dislodge and stop the fleet of police cars in pursuit; they find a bike that flies just in the nick of time but crash and land on the huge company logo seventy storeys up, are fired on (but this is where they get a literal safety net). And so on. Plausibility is not a major factor in Bay’s films.

But, if this kind of thing appeals, he certainly takes you along for quite a ride.

It should be said that the first hour concerns genetic engineering, the creation of clones for wealthy ‘sponsors’ to have a source for organ replacements when they get ill. So, another variation on the Frankenstein theme with Sean Bean as the scientist playing God. The special effects and sets for this institute and its laboratories is impressively elaborate.

Two of the ‘products’ which are virtually human are Ewan Mc Gregor and Scarlett Johansson. It is they who have to spend so much time being chased. Djimon Hounsou, who is usually so nice in his screen roles, plays the security head – could he possible be so ruthless and heartless!?

The Island will eventually take its place amongst the list of bigger-budget films on bioethics. In the meantime, it’s on Michael Bay’s slam-bang list.

1.A successful blockbuster? Michael Bay lavish action film? Chases and action?

2.The genetic engineering theme, a more serious approach for Michael Bay? Clones and their life, humanity, individuality, rights, quality of life? Their being created, memories given to them? False personas? Their sponsors and their motivation? The desire for immortality? The institute, the scientists? Playing God, controlling science, science for science’s sake? The technicians, the workers, the security personnel?

3.A futuristic world, the development in the world, yet recognisable? The institute, the use of media? The vision of the island? The travel to Los Angeles, the city of Los Angeles, luxury homes? The real world?

4.The title, the lottery, the island providing false hope, a paradise? A euphemism for the destruction of the clones?

5.The introduction to the institute? Lincoln, his nightmares, fears? The dream of the island? The television screen? The reality of the institute, starting the day, getting up, the clones like automatons, their choices for clothes, wearing white, breakfast, Suzie’s comments? Jordan and the talk with Lincoln? The attraction, friendship? The routine details of the day, the friendships? Work, machines, boring? The other characters in the institute?

6.Doctor Merrick in charge, talking with Lincoln, smooth talk, science and technology, managing the institute, the alarm with the developments, emotionally and intellectually with the clones? Discussions with the other scientists? Testing Lincoln?

7.The range of characters who were the clones? The variety of appearances, age, ethnic backgrounds? Their talks, hopes? Starkweather and his winning the lottery? Going to the island – and the later vision of the real Starkweather, his fighting? His arrogance?

8.Lincoln and his experience of changes, seeing the insect, talking about it to people, the contamination of the world and the clones believing this? Growing suspicion? Jordan winning the lottery, Lincoln and his change, wanting to leave? The discussions with McCord?

9.The escape, using their wits? McCord? and his rashness in talking with them, their going to his home, his wife and her chatter? Discovering that they were clones, McCord? telling them, their limitations, literal language? Change of clothes? Going to the station, McCord? getting the tickets, discovered, the surveillance, issues of money? McCord? and his fears, his death? Lincoln and Jordan running?

10.Doctor Merrick and his bringing in security, Albert Laurent? His determination, his squads, the pursuit?

11.Going to Los Angeles, their being caught, surveillance, Lincoln seeing the address of his sponsor? The pursuit, the vehicle, the chase, pushing the obstacles from the vehicle? On top of the logo, the shooting, the helicopters, their fall, being saved?

12.Going to the sponsor Lincoln, his character, career, wealth, Scottish background? Talking with the clones? Phoning the institute? Giving the information? Laurent and his confronting the two men, the argument as to which was real? The death of the sponsor?

13.Lincoln and his decision to return to the institute, as the real Lincoln? Disguise? Jordan and her being captured? Her being taken to the laboratories? Their plan, the execution of the plan, confrontation of the technicians? The violence? Doctor Merrick, Lincoln fighting with him, Doctor Merrick’s hanging and death?

14.Jordan, the confrontation with Laurent? His explaining it to Merrick that he had been a slave, his decision to help Jordan? The explosions, the chaos, the clones and their rushing to freedom?

15.Issues of cloning, humanity, love and emotions, sexuality? The possibility for Lincoln and Jordan to become more human and sail away?

16.The blend of the serious and popular culture in a blockbuster?

THE BITTER TEA OF GENERAL YEN

US, 1933, 88 minutes, Black and white.
Barbara Stanwyck, Nils Astor, Toshia Mori, Walter Connolly.
Directed by Frank Capra.

The Bitter Tea of General Yen is a story about civil war in China. There have been many stories about China in the 1920s and 30s, stories of the warlords, stories of the missionaries (The Sand Pebble, The Painted Veil).

This film takes place over a week, focusing on a young American woman who has come to China to marry her fiancé, a missionary. The country is in civil war. General Yen, one of the warlords, has come to Shanghai and the missionary wants to get permission to evacuate some orphans. The young American woman encounters the general first at the scene of an accident where he seems to show callous disregard for human life. When the orphans are evacuated, she is knocked out and rescued by the general. She spends a week at his summer palace and gradually becomes infatuated by him. He, a mercenary man, yet with strong beliefs, especially about change and the afterlife, becomes fascinated by the American. When she finally admits that she would stay with him, he commits suicide.

This was not the expected material for 1933, nor from Frank Capra who had had a successful career with a range of films up to this point. The next year he was to win the Oscar for It Happened One Night and begin his social films, Mr Deeds Goes to Town, Mr Smith Goes to Washington, and his post-war classic, It’s a Wonderful Life.

Barbara Stanwyck had appeared in The Miracle Woman for Capra. Nils Astor was a silent Scandinavian star who did not succeed so well in the talkies because of his accent.

The film is rather contemplative in its approach, asks the audience to reflect on civil war and China, Chinese characters (considered primitive by the stuck-up Americans) and the clash between Chinese ways of thinking and American ways.

1.A film of the 1930s? The China in the 1920s and 30s? American attitudes? Religious interest, missionaries and conversion? The warlords and finance?

2.The studio sets, Shanghai, the battles, the trains and cars, the orphanage? The summer palace and its lavish interiors? The score?

3.The topicality of the film in its time, the civil war, the generals seen as gangsters, warlords and their provinces, American finance and advice?

4.The setting, Americans in China, their attitude towards the Chinese, snobbishness? Their chatter, isolated? Preparations for the wedding? Doctor Strike and his delay, the orphans, the need for a document, his rescuing them, his being hit over the head?

5.Megan, her arrival, the rickshaw, the encounter with General Yen and his callous attitudes? Her arrival at the wedding, the groom, wanting to go for the orphans, her wanting to go with him, willing to take the risk, sharing in the experience, the rescue of the orphans, the shootings?

6.General Yen, warlord, gangster, Jones as his financial adviser? His mocking tone? Attitude towards the doctor? The soldiers laughing at the report and pass that he had provided, mocking him?

7.Megan, her being hit, waking, Mah-Li? and her helping her? Her letters to Doctor Strike, Mah-Li? giving them to General Yen? Her love for Colonel Li and the secrecy?

8.Megan recovering, her angers, the Chinese clothes, the refusal of meals? Her dreams and the fascination with General Yen? The film communicating the inner depths and psychology through the dream sequences? Her disdain in reality? Her stay, the influence of the general?

9.Yen in himself, his charm, callous attitudes, the traditions, orphans having no ancestors …? Colonel Li, Mah-Li? and her help? His imposing presence? Presence? His fascination with Megan, love?

10.The philosophical background, stoic, the nature of death, afterlife, change? His romantic speeches, the cherry moon?

11.Megan and the effect, stay, changing into Chinese clothes, General Yen and his tea, her willingness to stay, his drinking the tea and killing himself?

12.Jones, Megan on the boat back to Shanghai, the reflection, what had happened to her? Whether she would marry Doctor Strike or not? The changes to her, her future? The film as a symbolic challenge by China to America?

THE MIRACLE WOMAN

US, 1931, 90 minutes, Black and white.
Barbara Stanwyck, David Manners, Sam Hardy, Beryl Mercer.
Directed by Frank Capra.

The Miracle Woman is a very striking film. However, it was not a box office success in its day. It took up the theme of religious revivalists and evangelists, their reputations, their double-dealings, hypocrisy and greed. In the 1920s, the evangelist Aimee Semple Mc Pherson was a popular preacher and then disappeared, subject to great criticism. This theme was taken up in the popular novel, The Day of the Locust (filmed in the 1970s with Geraldine Paige as the evangelist. There was a telemovie about Aimee Semple Mc Pherson with Faye Dunaway in the title role and Bette Davis as her mother.).

Barbara Stanwyck was only twenty-three when she made this film yet she is a strong screen presence and was at the beginning of a very long and successful career. David Manners appeared in a number of films at this era, a sturdy but unremarkable leading man.

Frank Capra was to go on to make The Bitter Tea of General Yen, It Happened One Night for which he won an Oscar, and the series of social films Mr Deeds Goes to Town, Mr Smith Goes to Washington, and his greatest success, It’s a Wonderful Life.

1.A film of the early 30s? The development of sound filming techniques? The story of Aimee Semple Mc Pherson and evangelists? The lack of success of the film in its own time? A classic now?

2.The work of Frank Capra, his perspective on life, social concerns, religion, optimism? His work of the 1930s?

3.Religious issues in the United States, established churches, evangelical preachers, tabernacles and tents, healing ministry, conversion? Hypocrisy, money and greed? The end and the Salvation Army as authentic?

4.The black and white photography, the fluid camera work, the sets, the church, the hotels, the tabernacle? The range of Christian hymns? The musical score?

5.The introduction to Florence, her age, confronting the congregation, their waiting for her father, delivering his sermon, quoting Matthew 23, ousting the hypocrites and condemning them? Her vigour?

6.Hornsby and his visit, applauding her, talking with her, persuading her to become an evangelist? His being a conman? His work with Welford, the accounts, the collecting of the money, after the weekends and the gatherings? His threats, his death? The staff, the range of actors and performance, Hornsby’s lustful attitude towards Florence? The end, with the boxer, seeing Florence in the Salvation Army, his final comment about her being satisfied with this rather than what she had?

7.Barbara Stanwyck as Florence, in herself, age, experience, working for her father, admiration for him, her religious devotion, her anger, performance in the church? As an evangelist, clothes, the tabernacle, the lights, her sermons, exhortations to faith, in the lion’s den, John and his going in, her being persuasive? The conversions, the miracles? The tricks? The collection of the money, her not knowing the details, her father’s photo, living in luxury, her chauffeur?

8.Her loneliness, Hornsby organising the party, her revulsion from it? Waiting in the rain, John and the umbrella, going to his apartment, sharing, talking, his carnival tricks, Al and the ventriloquism? The continued meetings, the bond between them, Al and his talking, the proposal? Hornsby and his pressure, the headline threats, going to the Riviera, persuading her to leave?

9.Al, his background, aviator, his injuries, blindness? His use of Al and talking through him? Mrs Higgins and her sayings? Going to Florence’s office, memorising the details, pretending to Florence, her tricking him with the clock? Florence and her compulsion to tell the complete truth to John? His accepting this?

10.Florence upset, on stage, Hornsby, the reaction, the fire, panic, Florence urging people to sing, the band to play? The collapse and John rescuing her?

11.The six months passing, her joining the Salvation Army, John and his telegram with some hope for his sight?

12.Authentic religion, American religion, the quotation about false prophets and wolves in sheep’s clothing?

SECOND-IN-COMMAND

US, 2006, 91 minutes, Colour.
Jean -Claude Van Damme, Julie Cox, Velibor Topik, William Tapley.
Directed by Simon Fellowes.

A vehicle for Jean -Claude Van Damme in his mid-forties. After almost twenty years as a martial arts and action hero, he still draws on those skills but appears in a number of dramas which highlight military action as this one does.

The setting is Moldava and the film was made in its neighbouring Romania. The film draws on stories like those of the Balkans as well as difficulties with old communist factions trying to seize power as happened in Georgia.

Van Damme is the military attaché sent to the capital, with the death of the ambassador becoming the chief. The issue is also about journalists, hostages, attempts to get out of the besieged American embassy, rebel troops, national troops whose leaders betray the president.

The film is edited with quite some pace, is a straight-to-video action film – and works on that level. Director Simon Fellowes directed several of Van Damme’s films at this period.

1.An action film? For popular audiences?

2.The Moldava setting, the background of the communist era, hardline communists wanting power, democratic governments under siege, the American presence, the American influence?

3.The eastern European settings, the official buildings, the city and the streets? The hotels? Authentic feel? Musical score?

4.Sam Keenan as second-in-command, his arrival, his tough reputation, his going to the hotel to see Michelle, the assassinations, the bombs? His going to the embassy? The siege? The death of the ambassador? His assuming control? The CIA agent, Frank Gaines, and the clashes? Gaines and his orders to the military? The contact with the US, overriding Keenan?

5.The action sequences, Tavarov and his troops, the rebels, the attacks, the assassinations in the hotel? The president and his escape into the American embassy? The taking of hostages, the shooting in the streets?

6.Keenan and his decision to rescue the hostages, the planning of the attack, its execution? Rescuing Michelle?

7.The disputes over strategies? The getting of the personnel out of the embassy, into the bus, the destruction of the bus, the retreat back into the tunnels? Keenan and his rescuing Michelle again? The blasting of the tunnel? The discovery of the listening device on Michelle?

8.The arrival of the troops, the general and his attack, killing Gaines? Keenan in charge? The military agreeing?

9.The final battles? The American dead, the nationals dead? The image of this kind of uprising in eastern Europe?

10.The delineation of characters, the CIA and obstinacy, the military, the journalists, Michelle and her friends? The president and his decisions? Refuge in the embassy? Gunny and his help, the trained marine?

REBOUND

US, 2005, 89 minutes, Colour.
Martin Lawrence, Wendy Raquel Robinson, Breckin Meyer, Patrick Warburton, Megan Mullally.
Directed by Steve Carr.

Rebound is a sports film, a focus on an angry and self-centred coach who runs foul of the authorities because of his temper and is relegated out of the big league. He takes on a coaching job at the school in the town where he grew up, is harsh, uninterested, but gradually is won over by the kids as well as the threats from public opinion and the league. He eventually mellows, the team does particularly well, reaching the finals. Martin Lawrence is at home in this kind of role where he is at first gruff and repellent and finally kind and understanding. He also does a cameo as a cousin of the coach, Preacher Don. Wendy Raquel Robinson is the mother of one of the members of the team who is against the coach but sees the good side of him. Breckin Meyer is his agent. Patrick Warburton is the bullying coach of the opposition. Megan Mullally is the principal of the school.

The film was directed by Steve Carr who has made a number of comedies with African American leads like Eddie Murphy (Daddy Day Care, Doctor Doolittle 2) and Ice Cube (Are We Done Yet).

This film is a variation on the Bad News Bears, Mighty Ducks story.

1.An entertaining film? American? Basketball?

2.A vehicle for Martin Lawrence, the gruff persona, mellowing, kindly? His cameo as Preacher Don and his rhetorical style?

3.The basketball league, the games, the contrast with the school, struggling to make ends meet, the basketball court? The musical score?

4.The title, Roy and his life, his own rebound in professional work, in his character?

5.Roy, at the games, losing his temper? His advertisements, more concerned with his public image? Money? Called before the board, his defence, his agent and the legislation, their giving him another chance while wanting to oust him?

6.Tim Fink, the smooth-talking agent, his friendship with Roy, his continued interventions? Support?

7.Roy, the possibility of coaching at the school? The meeting with the principal? The meeting with Jeannie and her being commissioned by the principal to keep an eye on Roy? Her immediate antagonism? Her seeing his change, mellowing – and the possibility of his being a substitute father for her son?

8.The background of the school, the principal and trying to make ends meet, the staff, Jeannie and her art class? Roy and his coming into the class to get the tall boy to play?

9.The members of the team, the rag-tag bunch? Jeannie’s son? The mixture of white and black? The recruiting of Big Mac? The recruiting of the tall boy? The training, the initial matches, the failure? Building up spirit? His having to give up some of his commercials? The pressure from the league and the expectations?

10.The characters, the games, the increasing success? The exasperation of Larry Burgess and his team? Confronting Roy?

11.The familiar story of the team improving, getting through the competition, getting into the finals? The difficulties? The importance of morale in the team, the friendships and people supporting one another? The final match, Roy’s absence, the possibility of another job? His staying with the team?

12.A popular comedy, for American audiences? And hope in human nature?

CASOMAI

Italy, 2002, 114 minutes, Colour.
Stefania Rocca, Fabia Volo, Gennaro Nunziante.
Directed by Alessandro D' Alatri.

Casomai was very popular in Italy. As of 2008, Hollywood was interested in doing an American remake.

The film has been shown all over Italy since its first release for couples in preparation for marriage.

The film opens with a young couple driving to a village church to arrange for their wedding. At the ceremony, the priest gives an extensive homily, opening up the wonders of marriage as well as all the possible difficulties. The film uses flashbacks and flash-forwards to illustrate the characters of the couple as well as their future life and the difficulties and stresses to their marriage.

Stefania Rocca is very sympathetic as the bride. Fabio Volo, a television actor, is convincing as the bridegroom. However, the priest is very effective (and his name is Don Camillo) in offering a very positive image of a priest, a sympathetic pastor, someone practical in giving advice to a married couple. The film was also effective insofar as the couple is an ordinary couple rather than special. Most audiences could identify with them.

The film does not shirk the difficulties ahead for the couple: the cooling of their love, the birth of the children, the issue of abortion, work stresses, the husband isolating himself, marital infidelity. However, deep down, the film draws on the love that the couple have for each other.

The story is by the director Alessandro D' Alatri. In 1999, D' Alatri made a very interesting film about the hidden life of Jesus, Garden of Eden, speculating on Jesus and his ability with languages, the possibilities for travel, his being a rabbi and Joseph being a rabbi – all ideas drawn from the text of the Gospels.

The film won a commendation from the ecumenical jury at the Montreal film festival in 2002.

1.Comedy? Drama? Moral fable? Italian style? Characters, verve? The Catholic background?

2.The mountains, the city of Milan, the urban aspects, country aspects? The television style? The musical score and songs?

3.The structure, the drive, the flashbacks, the flash-forwards, the fantasy? Audience knowing what was going to happen in the marriage? The effect on understanding the nature of marriage and commitment?

4.The title, slang, the fable?

5.Tomaso and Stefania? Their age, background, in love? The drive to Stefania’s village? The church, meeting the priest? The ceremony? His interrogation? His beliefs? Corresponding to their beliefs? The preparation for the marriage, the sermon during the ceremony, the priest going over the realities of marriage? The challenges? The reaction of the congregation? Statistics about successful marriages?

6.The life story, Stefania and Tomaso? Their work, show business, the meeting, going out together, the relationship? The issue of pregnancy, birth and sensitivities? The effect of the child? Growing up, each and their love for the other, the work, the consequences of work and separation, the nanny interviews, Tomaso and his friends, sport? Family, meetings? The temptations? The award, the producer? The night, the gossip? Stefania as a mother, her work, son? The background of pregnancy and abortion? Pressures? Infidelity? Divorce – and the Kramer vs Kramer syndrome? Bitterness, reconciliation or not?

7.Tomaso and his friends, advertising, sport, talk? The producer?

8.Stefania, her friends, her mother?

9.The child in focus, the pregnancy or not?

10.The return after the flash-forwards and fantasy to the wedding? The couple’s reaction? The vows and celebration?

11.The character of the priest, the Catholic background, personality, integrity, the pastoral type, his questions, his purpose in the sermon?

12.The moral conclusions for the couple? For their friends and family? For the audience?