THE WRESTLER

US, 2008, 105 minutes, Colour.
Mickey Rourke, Marisa Tomei, Evan Rachel Wood.
Directed by Darren Aronofski.

Wrestling may not be your favourite sport - on the other hand it could be - and those not enamoured of the theatrical moves and thumping, grinding and tossing may find the first part of this film too much. This is especially so when the camera does not draw back from close-ups of the action and the repercussions of pain in the performances (including a staple gun). That having been said, it can be added that The Wrestler is a very well-made film with a message about life, talents, wasting one's talents and affecting other people's lives for the worse.

Mickey Rourke used to be a dashing presence on screen in the 1980s. He definitely looks the worse for wear now. Which fits his character as Randy, 'The Ram' Robinson (actually Robin Ramzinxki), a one-time wrestling champion and audience favourite who relished his career and big victory in 1989 (seen in posters and photos during the credits). The Ram is now definitely even the worst for wear, cuts and bruises all over his body, a hearing aid, glasses and performances at also-ran bouts for small crowds. Yet, he keeps in shape, puts his body through punishing events (with the help of some steroids) and has not lost any enthusiasm for his sport. Wrestling is his talent and life and he has given up everything else (including a daughter, Evan Rachel Wood) to stay in the game. He now finds himself lonely, living in a trailer, occasional drugs and semi-anonymous sex and seeking the friendship of a stripper (Marisa Tomei).

When he collapses and has to have a bypass, he has to make deeper choices. He visits his daughter and, despite her initial hostility, he makes a breakthrough and then irresponsibly throws it away. He proposes to the stripper but she has a young son and wants to draw a line between her clients and her friends.

This is not to say that The Ram is a gloomy character. On the contrary, he gets on well with fellow-wrestlers, a community in themselves who appeciate each other and the particular moves that they put on show. When he gets a job in a supermarket deli, he is quite genial with the customers - until he is too annoyed to continue.

The decision he has to make is whether he will perform in a 20th anniversary re-match with his old opponent, The Grand Ayatolloh (actually, Bob from Arizona who runs a used car business). This will threaten his health and his life. It does not spoil the film to know that he does decide to fight (what else would the film be?). His vigorous speech to the admiring crowds is a scene that sums up his life and its meaning.

Mickey Rourke is always believable as The Ram and takes us into a world that is unfamiliar and maybe repellant to most of us.

Darren Aronofsky is not a director who can be pinpointed: erudite maths and philosophy in Pi, the world of addicts both young and old in Requiem for a Dream and romantic science-fiction and time-travel in The Fountain. The Wrestler, therefore, is quite different.

1.The audience response to a film about wrestling and wrestlers? Liking or disliking wrestling? The vivid wrestling sequences and their impact? Yet the portrait of an ordinary man, his life and choices?

2.The world of wrestling, the credits sequence and the voice-over, the posters and photos about Ram? His reputation? The 80s, achievement, the fight with the Ayatollah? The twenty years passing? His various bouts, the crowds, his skills, the fraternity of the wrestlers? Another world?

3.New Jersey, the trailer park, the world for Randy, the clubs and the strippers, clothes shops, Stephanie’s home and the streets, the boardwalk and the old casino, the wrestling arenas and backstage? Atmosphere and feel? The musical score, the range of songs – and Bruce Springsteen’s final Wrestler song?

4.Mickey Rourke’s portrait of Randy? His age, battered, his hearing aid, glasses? The various bouts and his participation? The doctor warning him? The pain, the extraordinary wounds, the devices for bashing, hitting? Going to the supermarket to buy dishes and tops of pots for use? Drinking, not being allowed into his trailer till he paid his money, the difficulties with money, going to the club, ordering Cassidy’s clients out, talking with her, the sex, the attraction between them? His wanting some future with her instead of being alone? The various visits to her? The crowds, the bouts, the discussions with the opponents and the various moves. The man with the staple gun? The wounds, taking out the staples, his vomiting, collapsing, hospital, the bypass? His being forbidden to wrestle? Going home, jogging, collapsing? His wounds? His drug deals for the bouncer, getting drugs for himself? Going to Pam, talking things over, her suggestion that he visit Stephanie? Stephanie, her roommate, their hostility? Going with Pam to buy the present, the green jacket with ‘S’ on it, the coat? Her happiness with the coat? Walking with him, the memories, along the boardwalk, the ballroom, their dancing together? Planning to meet again, his failure, turning up late, the flatmate and her hostility? Stephanie’s anger and wanting to close him out forever? Pam and her life, telling Randy about her son, her visit and her harshness towards him? Yet coming to the bout but not looking at it? Randy and the bodybuilding drugs, his partying, the brutal sex, taking the cocaine? Unreliable? The pattern of his life, abandoning his daughter and no contact? His decision to retire? Working at supermarket, getting the job in the delicatessen, his friendliness towards the customers, genial, the woman who wanted more than less? His growing exasperation? The man who recognised him? Cutting himself on the slicer, walking out, smashing the goods? Agreeing to the bout with the Ayatollah? The discussions with him, Pam’s arrival, the crowd and their support, his speech to the crowd about their support, the details of the fight, his keeping going, the preparation for the Ram Jam, his poised on the ropes, the film ending – but his death dive?

5.Cassidy, at the strip club, her clients, sexual relationships, talk? Her helping Randy with visiting his daughter, coming to the shop to help buy the clothes, her preference for the name Pam? Talking about her son, the gift of the toy for him, his playing with it? Her home sequences? Her son? Her rudeness to Randy, her later apology, talking about drawing the line? The full-on striptease, her decision to leave in mid-dance, going to the fight, talking with Randy, not able to face the wrestling?

6.Stephanie, her father abandoning her, no mention of her mother? Her life, competence, studying, his wondering about her sexual orientation? The gifts, her going for the walk, her memories and lack of memories, her disappointment at being stood up, throwing him out?

7.The wrestlers, the variety of personalities, show business, their friendships, ability to talk to each other, the different styles, moves? The brutality and the pain, yet stylised? Randy’s wounds, the staples, the risk to health?

8.The crowds, their chants, the bloodlust, the support of their favourites? The irony of the Ayatollah and his flag, the excessive patriotism in supporting Randy?

9.A portrait of a man, on the periphery of life yet a success in his field? Not a loser or a has-been? The waste in his life, the gifts, the achievement? The combination of life wish and death wish?

STARSKY AND HUTCH

US, 1975, 75 minutes, Colour.
Paul Michael Glaser, David Soul, Michael Lerner, Richard Lynch, Richard Ward, Antonio Fargas.
Directed by Barry Shear.

Starsky and Hutch was the pilot in 1975 for the very successful television series which had four seasons. It made stars of Paul Michael Glaser (who went on to be a film director) and David Soul who went on to be a singer as well as a stage performer in his adopted England.

In 2004, an update of Starsky and Hutch was released with Ben Stiller as Starsky and Owen Wilson as Hutch. It was a reworking of the police series but playing it more for satire and a touch of parody with Ben Stiller being a much more obsessive Starsky and Owen Wilson a much more laid back and disreputable Hutch.

The film is a reminder of the popularity of the police buddy films in the 1970s, the partners, their friendships and clashes. Paul Michael Glaser is more ordinary as Starsky - though he has a great love for his car. David Soul complements him in his work - though it is hard to tell who is leader as each takes turns in pursuing their case. A very young Michael Lerner is the informer. Richard Lynch was a prominent villain at the period. Antonio Fargas continued in the series as Huggie Bear (with Snoop Dog performing this role in the 2004 version). Direction is by Barry Shear who made a number of telemovies and some small-budget films, especially the 1968 Wild in the Streets.

1. The pilot for the series seen in the retrospect of the success of the series? The popular ingredients, the police buddies, the police work, their sense of independence, clashes with authority? The pursuit of criminals, the chases and stake-outs? The buddies, the encounter with people, their handing of criminals and informers, of gangsters?

2. The city locations, the streets, the cars and chases, the precincts? The musical score?

3. The basic plot, the threat to Starsky and Hutch, their checking out informers, checking out with criminals on the street, their detection, finding out about the assassins, the reasons for the assassination? The gangster against whom they would testify - and his interview in the sauna and persuading them that they were being set up as was he? The inspector, the corruption and his link with the criminals?

4. The prologue, the young couple in the car, the assassins and their talking about John Wayne, shooting up the car? Their mistake? Their being recommissioned to kill Starsky and Hutch? Starsky and Hutch and their shrewdness, setting up the meeting, deceiving the killers, going into the apartment, the shoot-out?

5. The police chief, his reading the letter of the law to them? The higher authorities - and the irony that they were in league? The shrewdness in detecting that Rowley had made an interior call on his release from the cell?

6. Rowley, informant, the phone calls, Starsky and Hutch getting the people in the bar to write down the information? Putting Rowley in jail, his getting out, his ringing the assassins, his being the go-between?

7. The incidental comedy, the buddies, their mistakes, the stake-out in the rain, at the sauna, at the gym, their cars?

8. The series setting up the basic ingredients, including Huggie Bear and the meeting in the porn cinema to get information from him, for the development of the series?

SINCE OTAR LEFT

France, 2003, 102 minutes, Colour.
Esther Gorintin, Nina Khomassouridze, Dinara Droukarova.
Directed by Julie Bertuccelli.

Writer and first-time director, Julie Bertucelli, must love Georgia and its people. We discover she is French but had worked as an assistant to Kieslowski, Bertollucci and to Iosselliani with whom she spent six months filming in Tiblisi. She got to know it well.

The setting is the early 1990s. Independence is new and the bureaucracies are not used to it at all. Three generations of women share a house, especially since Otar (the son who had started out as a medical student but who is in Paris illegally seeking work on building sites) left for France. We see Otar only in photographs and hear his voice on the phone.

The film is the portrait of the three women, each of whom is excellent in her own way. The focal performance is that of Esther Gorontin as the grandmother, a strong and determined woman if ever there was one, often contemptuous of her widowed daughter, relying on her seemingly mousey granddaughter. The performance does not seem like acting but is totally real and credible. She was 90 when she made the film!

Nina Khomassouridze is the extraverted daughter, in perpetual exasperation with her mother. Dinara Droukarova is the granddaughter. As a portrait of a family, it is quite absorbing. However, the two younger women are faced with a dilemma of whether to give news of Otar to the old lady. The mother opts to conceal the truth and her daughter has to go along with it. The consequences are completely unexpected, leading to a visit to Paris to find Otar.

Audiences will find the visit to these three women, the opening up of the world of Georgia which has lived through Stalinism (he was from Georgia) and the communist era and has learned to live with lies and deception, fascinating and entertaining.

Winner of the first SIGNIS award at the Hong Kong International Film Festival, 2004.

1. A picture of eastern Europe and the beginning of the 21st century? Georgia? The history of Georgia under the communist regimes, Stalin? The independence of the 90s? Looking towards the West, especially France?

2. The picture of Tblisi, the streets, homes, public buildings? The Georgian countryside? The musical score and a variety of moods?

3. The issues of truth and lies, the culture of communism and conformism on the part of the people, independence and people still being accustomed to socialist rule and procedures? The fear of telling the truth, the emotional fear, psychological fear? Living with lies and constructing them as a way of surviving?

4. The title, Otar and his place in the family, his studies, going to Paris, his communications, visa difficulties, letters and phone calls, sending money? Working on the construction site, his friendship with Niko, his accidental death? The information given to the family on the phone, the letter from the Consulate with its detail, Niko and his visit and his bringing the suitcase? Marina and Ada and their option to lie? Ada writing the letters, keeping up the pretence, the neighbour and Tenguiz and their collaborating?

5. Eka and her decision to visit Otar, selling the books, buying the tickets, getting the visas, the flight? The hotel in Paris, Ada in the rain? Marina and Ada finding Otar's grave? Eka going out by herself, the search for the address, asking at the various apartments, her being told the truth, her sitting and grieving? Her options, the decision to create a fantasy that Otar had gone to America and would be communicating with them? Everybody constructing alternate worlds?

6. The portrait of the three women, local, universal? Truth? Strengths and weaknesses?

7. The household, Eka and her husband, his death, love for France, buying so many books, his death? Otar and his place in the family, going to Moscow to study medicine? Marina and her being thought less of, her husband dying in the war in Afghanistan? Ada, her grandmother's favourite, her study, skill with languages, her keeping the peace between her mother and her grandmother? Her boyfriend, his wanting to go to Switzerland, calling him a deserter (and her actually deserting)? The sexual relationship? In the household, dependence, dominance? Who was in the right?

8. Eka and the actress being ninety at the making of the film? The opening, choosing the cake, glaring at Marina taking a piece? In the home, her room, her being spoilt by the women, her feet being done? Her dependence on Ada? Her clashes with Marina? The letter from Otar, keeping the money? Speaking French, devotion to France? Her cutting sayings? Her going on holiday, the departure, ignoring of Marina? Otar's room and wanting it kept? Her going out by herself, going to the carnival, smoking, the ferris wheel, going to the library? Her decision to go to Paris, sell the books? On the flight, at the hotel, her going to enquire about Otar? Her discovering the truth? Her sitting quietly and grieving? Her decision to have an alternate story? Her going back home? Living her particular lie?

9. Marina as her daughter, competition with Otar for her affection, with Ada, washing her mother's hair and discussing the treatment of mother and daughter? Work, the market, her relationship with Tenguiz? The blackouts at the home, her cooking, the phone calls from Otar? Her receiving the information, her decision not to tell her mother the truth? The lie, Ada's writing the letters? It taking up the money? Going on the holiday, with Ada? The shock at discovering what her mother had done? Going to Paris, to the cemetery? Ada not coming back with her? The future with her mother?

10. Ada, her age, experience, the good relationship with her grandmother, her making the peace, her love for her mother? Study, the relationship with the boy? At home, her grandmother relying on her? The translation job and her skills, not being paid well, stealing the pottery? Her going along with her mother's deception, writing Otar's letters? Niko's visit and her coping? The sexual relationship with her boyfriend, his going to Switzerland, his coming back so quickly? Her going on holiday with her mother, the trip to Paris, at the cemetery? Her decision to stay? Her farewell?

11. Tenguiz, relationship with Marina, their work at the market, on holidays, his supporting the women in the deception about Otar?

12. The boy, his ambitions to go to Switzerland, his friend, only getting as far as the border?

13. Life in Georgia after independence, the post office and their surliness, the officials? The transition from communism? Individuals and families within this context?

STUART LITTLE

US, 1999, 80 minutes, Colour.
Michael J. Fox, Geena Davis, Hugh Laurie, Jonathan Lipnicki, Nathan Lane, Bruno Kirby, Jennifer Tilley, Dabney Coleman, David Allan Grier, Jon Polito, Harold Gould, Jeffrey Jones.
Directed by Rob Minkoff.

Stuart Little is a delightful entertainment for the whole family. The film is based on a story by E.B. White, author of Charlotte’s Web, who wrote the novel of Stuart Little in his fifties (during the 1950s).

Stuart is a mouse who is adopted by the Little family as a brother for George (Jonathan Lipnicki). Geena Davis and Hugh Laurie portray the devoted parents. While George gets to like his brother, the family cat Snowball (voiced hilariously with insinuation by Nathan Lane) is hostile. Snowball has a number of other cat friends who are voiced by Chazz Palminteri, Steve Zahn, David Alan Grier, Bruno Kirby and Jennifer Tilly. Stan Freberg, the comedian, has a vocal part as a race announcer.

The film portrays the warmth of a typical American family. We enjoy the adventures of Stuart, overcoming the limitations of his size and of his being a mouse, as he goes through the routines of family life as well as of school.

Parents will be amused by the film – but will also be amused by the positive response of their young children.

The film is directed by Rob Minkoff who directed The Lion King as well as the sequel to Stuart Little and the Eddie Murphy horror comedy, The Haunted Mansion. There was a third Stuart Little film, an animation film in which most of the present cast returned to give their voices to the characters.

1. The appeal of E.B. White's story over the decades? Children's entertainment? Adults'? The transferring to the screen?

2. The techniques used for Stuart Little, the mouse, animation? Live action? The mouthing of the words by Stuart and the cats? The musical score?

3. The realism of the story, the screenplay taking the events for granted? The comment on Stuart being a mouse by George? The Little family and their saying that he was adorable rather than that he was a mouse? Accepting the basic premise, the film being realistic in all senses afterwards? The entertainment value in accepting this premise?

4. The Little family, the ideal family? Good manners and everything nice in the household? Their wanting another child? Waking up that this was the special day? The anticipation? George wanting a brother? Going off to school? The Littles and the orphanage, the manager and her twittering? Watching the children? Listening to Stuart's comments? Being impressed by Stuart, deciding to adopt him? The caution about species by the manager? Taking Stuart home?

5. George's reaction, only a mouse, not very pleased? Mr and Mrs Little and their delight in Stuart, looking after him? The initial encounter with Snowball? Snowball tormenting him, putting him in the washing machine?

6. Stuart as a character, nice, Michael J. Fox's voice? From the orphanage, the emptiness inside not knowing what happened to his parents (and later finding out that they were killed by soup cans in a supermarket)? His good manners, well dressed? His love for his parents? Wanting to be a friend to George? The Little family and their arrival, making a fuss of him, gifts?

7. Mr and Mrs Little, niceness, looking after Stuart, rescuing him? Hoping George would like him? The boat race and their concern, Mrs Little becoming protective? The Stout mice coming to visit? Claiming Stuart, reluctantly letting him go? The concern, the true information from the manager, the search, going out to put up notices everywhere? Happy to have Stuart back?

8. George, his age, wanting a brother, not wanting a mouse? The hostility towards Stuart, Stuart making friends, helping repair the toys, the car gift? The boat? At Central Park, the nasty boy and his big boat and his cheating? George and his feeling a sense of defeat, not wanting to race, his father's support? Stuart and the boat, the accidents, winning? George claiming him as his brother? Upset when Stuart had to go with his parents?

9. Snowball, Nathan Lane's funny and literally catty lines? Hostility towards a mouse, feeling ashamed in the neighbourhood? His thug cat pals? The plan, the Stout family? Snowball's change of heart, going into the park? The gang, their pursuit of Stuart, talking about lunch, the car? Turning on Snowball, Snowball deciding to help Stuart? Stuart and his running away, falling into the drain? The waterfall? Eventually arriving opposite the house? Snowball taking him to the window, the reconciliation, the Littles welcoming Snowball?

10. The story of happy families, nice children? Nice mice? The photo and the comment that this was what people looked like in a fairy tale?

THE STORY OF THE WEEPING CAMEL (INGEN NUMSIL)

Germany, 2003, 90 minutes, Colour.
Directed by Byambasuren Davaa and Luigi Falorni.

The Story of the Weeping Camel is a documentary drama photographed in Southern Mongolia. The director came from this part of the world and wanted to present the life of the nomads in the Gobi Desert. While he grew up in the city, his grandparents led the kind of life that is depicted in the film. The film focuses on a family, their relationships, the different generations, the wisdom of the grandparents, the practicalities of the parents, the portrait of two young brothers and their very little sister. The film's details of life in the home, with the detail of the interiors of the tent home, are often quite funny and moving. The film focuses also on the camels, the grandfather beginning with a story about camels originally having antlers as a gift from God, lending them to the envious deer, who went off and never returned, leaving the camels perpetually staring into the distance. The film focuses on a very difficult birth by a camel, the mother's disdain for her young, the desperation of the young colt to feed from his mother. The family send the young boys into the town to bring a violinist to play a ritual musical soothing for the camel - which is effective. The film also shows the young boys interested in city life, in television - and the aftermath of the film with their setting up a satellite dish outside their tent. The film was the official Mongolian entry for the Oscar nominations for best foreign language film.

1. The impact of the film? The documentary nature of the portrait of life in Mongolia? The drama of the family, of the camel and the difficult birth?

2. The landscapes of the Gobi Desert, the seasons, the sandstorms? The life of the families in the desert, the tents? The interiors with carpets and hangings, candles? Yet a lavish look and comfortable surroundings? The musical score?

3. The focus on the grandfather, his story of the camel and the antlers and the deer? The picture of the camels, grazing, the farmers riding them? The physical nature of the camels, the getting of wool from their beards? The weaving of the wool? The camels giving birth, the healthy colt? The difficult birth, the white colt?

4. The focus of the story on the camel, the emotional response to the mother rejecting the colt after the difficult birth? The colt and its need for milk, going to its mother, her kicking it away? Her walking away? The music ritual, the soothing of the mother, the colt getting the milk? A future?

5. The grandparent generation, their experience and wisdom, genial? The parent generation, the practical things with the flocks, in the house, feeding and washing the children, the communal meals? The boys, their playing games? The grandparents and their cards?

6. The boys going into the town, riding the camels, the food on the way, the storm? The markets, searching for the batteries for Grandfather's radio? The friends, going to the music school, the children rehearsing the dancing, the violinists and pianists?

7. The emotional warmth within the family? An old way of life? The change with so many going to the city? The opportunity for the documentarists to capture a way of life that will pass - as symbolised by the getting of the satellite dish and the delight of the children watching television?

SUZIE GOLD

UK, 2003, 93 minutes, Colour.
Summer Phoenix, Leo Gregory, Stanley Townsend, Rebecca Front, Frances Barber, Iddo Goldberg, Miriam Karlin.
Directed by Ric Cantor.

When the British film, Suzie Gold, was released in 2004, many reviewers likened it to My Big Fat Greek Wedding. In fact, there are similarities insofar as there are popular stereotypes, preparations for a wedding, misunderstandings with the family – and conversations and actions which move towards the top, or over the top.

American actress Summer Phoenix, from the Phoenix family, takes on a North London accent as the Jewish Suzie Gold. The Gold family is preparing for a wedding with all the relevant fuss. However, Suzie falls in love with a non-Jewish man, played by Leo Gregory. This creates fuss in the family – and Suzie is unable to introduce him at the beginning of her relationship with him.

The film is very much for a Jewish audience who can enjoy looking at some exaggerated mirror images. While the family is not ardently orthodox, it still follows the Jewish traditions. In the supporting cast are veteran actors like Miriam Karlin and Frances Barber.

1. A pleasing and romantic comedy? Harking back to old-style romances, the opening with the flowers, the wedding, the portrait of Suzie, the portrait of Anthony, of Darren? The romantic dialogue? The sentiment? The surprise for a film, from England, the Jewish setting in 2003?

2. The North London settings, the suburban homes, the restaurants, the synagogue? The particularly Jewish flavour of the area? The shops, the streets, the television station? The Jewish families keeping together yet their involvement in the world around them?

3. The focus on Jewish traditions, religious and cultural? The Jewish community keeping to itself, the issue of "marrying out"? Marrying out being unthinkable, the various adults' comments on the effect of marrying out - and the outburst by Joy at the table of the disappearance of the Jews and Hitler winning? How important was the theme of marrying out, the expectations of the family? Suzie and her fulfilling these expectations - and then breaking out of them? The consequences for Jewish families and the Jewish community? The religious traditions, the meals, the wedding ceremony, the funeral and the period of mourning, community solidarity? The songs? The music? The vocabulary?

4. Summer Phoenix as Suzie Gold, the introduction in voice-over to her family, explaining everybody - with the comic touch? Explaining herself? Everybody at the wedding - and then the flashback structure? Suzie's story and it leading back to the wedding and its aftermath?

5. Suzie as a character, her relationship with her parents, loving, supportive? Her joy at her sister's wedding? The younger brother and the exasperation? The friends and neighbours, the cousins? Her place in the family, her going out? Her skill at her work, making mistakes, the attitude of the boss? Her encountering Darren, the attraction, shared experiences, his coming home, her mother dismissing him as the plumber? Their sexual relationship, the bedroom scene, the way that it was framed for Suzie and for Darren? Their talking, communicating? The prospect of her sister's engagement? The initial attraction towards Anthony Silver, when they were children, the expectation that they would marry? His taking notice of her, his talking, taking her out, the falling and his talking on the mobile phone? Darren and the confrontation, her not being able to take him home and admit the truth? Her dating Anthony, the restaurant sequence, the expectation that she would marry him? The build-up to the marriage and its preparations? The balloons, the irony of meeting Darren on the street, the talk, his challenging her, her letting the balloons go, going to the wedding, Anthony's speech, her rejection of it, her mother's outburst, her father's support, the family dancing together and the prospect of her being able to marry Darren? The journey for Suzie in terms of emotions, her place in the family, her place in the Jewish community to which she strongly belonged and was part of, her own fears, her love? The importance of the visit to her grandmother, her grandmother seeing her husband as a ghost? Supporting Suzie - and the two of them reappearing at the wedding? And the final comment of the grandfather after the titles?

6. The captions and the sayings of the rabbis, giving the themes of the film?

7. Anthony, his father and the restaurants, his considered being a catch, wealthy and talented? The girls falling all over him? His attention to Suzie, inviting her out, their discussions, skating and his mobile phone, the restaurant and people talking to him? His announcement at the wedding after asking Suzie's father's permission? The warmth of the proposal, her saying that he should have asked her, her rejection? His father and other people?

8. Darren, at work, the contrast with Anthony, non-Jewish, the way that he was treated by the family? Her love for him, breaking off? His leaving work, meeting in the street, the challenge, the balloons flying, her declaration for him, persuading her parents?

9. The portrait of the parents, the father, head of the family, his relationship with his mother, her death, his grief and the management of the grief and mourning? His dealing with his wife, telling her what his mother had said about her, all the negatives, then saying that she said he had married a jewel? At the wedding, Anthony's permission, Suzie's speech, his calming his wife, allowing her to marry whom she wished? The mother, work in the house, her love for her daughters, the very Jewish tone, her emotional outbursts? Seeing Darren as the plumber? Her anger at the wedding, her having to be calmed down? The relationship of the parents with their youngest son, his age, music, dream fantasies and dancing, being late, in the bath, his father rousing on him, his wearing the wrong shoes?

10. The other members of the community, Joy and her husband, her high emotions, having the relationship with her husband's best friend, her husband pushing her into the pool? His confrontation with the short man, their memories, the betrayals, the jokes, the reconciliation?

11. Suzie's friends, their support, advice? Sophie, the wedding, her love for her sister, her husband - and his always wanting to eat?

12. A portrait of a community, with its traditions and styles? The interactions? The Jewish community within the broader context of life in London? The radio station, the manager and his disregard of any outside news like earthquakes in China?

13. The pleasing blend of the comic, the serious, the romantic, sentiment?

SCHOOL OF ROCK

US, 2003, 110 minutes, Colour.
Jack Black, Joan Cusack, Mike White, Sarah Silverman.
Directed by Richard Linklater.

The popularity of Jack Black is one of the mysteries of Hollywood. On paper, he ought to be a screen presence that one dislikes, even at times loathes. He is rough and ready, looks and acts like a slob, has a bad mouth and bad attitudes, often anarchic. Yet, through Jesus' Son, High Fidelity, Shallow Hall and Orange County, he has made an extraordinary impression. We keep watching him. His super- confidence and comic timing and delivery are often mesmerising. It is the same with School of Rock, which is one of the most entertaining films of the year. It is Mr Holland's Opus, Dead Poet's Society and The Emperor's Club moved downmarket but with even better results for Black's young student musicians who become the School of Rock.

Black plays Dewey, for whom Rock and Roll, its rhythms, beat and lyrics are not just music. They also give it to 'the man', whoever is in authority. This time it is Joan Cusack reminding us once again what a versatile actress and comic she is. She is the uptight principal of an expensive and prestigious school who hires him under false pretences as a substitute teacher and whose school nearly collapses under the protests of angry parents who are horrified to learn that this slob has not been teaching them the curriculum - although they all become scholars of the history and ethos of Rock and Roll.

The usual assortment of kids are there in the classroom, the gawky guitarist, the bossy girl who will grow into Reese Witherspoon in Election, the gifted Asian pianist, the self-consciously large black girl who has a voice to die for, the effeminate costume designer, the computer whiz - and they are all ten. So, it's not so much the class resisting Black but rather how he transforms them and gives them a different vision of life and music.

Not only does Black work his slob-charm on the characters, he works it on us the audience, so that, while meeting him in real life would have major problems, watching him on screen has us on his side. The film is also often very funny. Director is Richard Linklater whose early films would have suited Black, Dazed and Confused, Slackers, SubUrbia?.

1. The success of the film? Popular with critics and audiences? The nature of the appeal, the characters, school and education, music, students realising potential, competitiveness without making it the be-all and end-all?

2. The city locations, the apartments, the school, the hall for the concert? Audiences identifying with this kind of location, characters and experience?

3. The importance of the music, the title, rock 'n roll, Dewey and his love for rock 'n roll, the range of songs used throughout the film, for Dewey, for the children? The choreography?

4. The focus on Dewey, Jack Black's screen persona, his size, gross manners, eye-rolling, delivery of words and his crassness? His wanting to be a rock 'n roll success? Music, recordings? Competitions? His sharing an apartment with Ned? Ned and his being agreeable to Dewey? Pattie and her hold over Ned, her intense dislike of Dewey and wanting him out?

5. Ned, a pleasant young man, under the influence of Pattie, long-time friend of Dewey? Wanting to help? His work as a teacher? Pattie continually wanting him to improve himself? Her own job, upwardly mobile, dominating?

6. Dewey and his need for money, for a job? His self-confidence and self-image? Listening to the phone call, deciding to go to the school, passing himself off as Ned? The discussions with the school principal? The ethos of the school, her hiring him? His confidence-trick style in putting it over the principal?

7. His going to the class, his meeting the students, their age, primary school level? Their musical talents? Classical music? Their parents and the fees paid for tuition to be in an orchestra? His response to the children, to the music?

8. His teaching methods, crass, explaining to them the language of rock 'n roll - and their puzzlement, beginning to learn the jargon? His classes, his explaining rock 'n roll instruments to them musical style? His allotting each of the students to be part of the orchestra as well as to be part of the support group, lighting, costumes, sound system?

9. The children, their various personalities, their musical talents? The multi-racial group? Their parents? Their wariness about rock 'n roll, their change of mind, listening to the music, becoming experts in the information? The practice, their learning the rhythms, tempos? Their building up to a successful rock 'n roll group? The girl who was self-conscious about being a singer - Dewey auditioning her and making her part of the singing group? His creating the project, their working on it, doing their homework? The composition of the song? Calling themselves The School of Rock?

10. The audition, their going as a group, their being part of the competition, Dewey's story that they were all ill or dying - and the organisers of the competition looking on the children, the children being convincing, the compassion?

11. Rosalie Mullens, her running the school, being proper? Her interest in Dewey, a growing friendship, his finding out her favourite music and talking about it, their going out? Stevie Nicks?

12. The cheque arriving, Pattie discovering the truth, Ned and his feeling put-upon? Pattie and her dominance, exposing Dewey?

13. The parents learning the truth, their violent reaction, campaign, stampede? Their going to the Battle of the Bands? The children going in secret, in a bus? The performance, the audience response, their zest, the success? The parents and their change of heart, supporting their children?

14. The other bands, the musical skills, their attitude towards the School of Rock? Their not winning? The realism of this touch? The crowd and the encore? Dewey and his happiness, success? Ned and his support? Pattie overcome? The parents and their support? Rosalie and her infatuation with Dewey?

15. The epilogue, the irony of Dewey as a teacher, teaching rock 'n roll, the response of the students?

16. The entertainment value in this kind of film? The variation on the school and education film? The admiration for rock 'n roll - and the intensity of Dewey's speeches, his class, explaining the spirit of rock 'n roll, the practitioners, the fact that it was a music of rebellion and an attempt to criticise those on top?

SCHOOL FOR SCOUNDRELS

UK, 1960, 90 minutes, Black and white.
Ian Carmichael, Terry -Thomas, Alastair Sim, Janette Scott, Dennis Price, Edward Chapman, John Le Mesurier, Irene Handl, Hattie Jacques.
Directed by Robert Hamer.

School for Scoundrels is based on a popular series of books about business and one-upmanship by Stephen Potter. The film focuses on a wealthy but rather inept young man played by Ian Carmichael in his usual fashion. He has a bounder friend, Terry -Thomas, who beats him at everything, including tennis and drawing away his girlfriend. He enrols in a school to learn how to win in one-upmanship. The school is run by Alastair Sim, doing a variation on his Belles of St Trinians, The Happiest Days of Your Life headmaster. A group of character actors has a series of guest roles, including Dennis Price as an oily and dodgy car salesman. Direction is by Robert Hamer, director of a number of Ealing Studios comedies.

1. An entertaining British comedy? Of the 50s? Now?

2. Black and white photography, the fashionable settings, restaurants, business? The school? Musical score?

3. The British cast, audience familiarity with their styles? Their capacity for comedy?

4. The title, the film based on a series of books about one-upmanship? The school and Mr Potter, his ways of teaching, his aims and objectives? Turning people into scoundrels - for one-upmanship against scoundrels?

5. Ian Carmichael as Henry, the young man, all the gifts in the world, wealth, position? His hurrying into work, the bus clash with April? Attracted, going out with her? His meeting with Raymond, Raymond taking over, the table in the restaurant after the maitre d' refusing them entry? Raymond leaving him with the bill? The car, tennis prowess? His being able to dominate Henry? Henry and his decision to go to the school? The course, the various lessons, his ability to learn, the comedy? Mr Potter and his instructions? His special liking for Henry? Sending him out, Henry going back to the office and dominating Mr Gloatbridge, pretending that there were errors in his accounts? His domination of Raymond, driving him around the block, getting him exasperated, late, April upset with him? Beating him at tennis? Meals? Mr Potter watching, congratulating him, conferring the degree? Henry's love for April, proposal, the compromising position, Raymond catching them, his using the techniques? His confession, April's reconciliation? His not wanting to be a winner by one-upmanship?

6. Mr Potter, his manner, aims and objectives, the school, the courses, the supervision? Urging Henry on, at the office, at tennis, the conferring of the degree? Henry turning against him at the end and wanting to be honest?

7. Raymond, the bounder, Terry-Thomas's style? Restaurants, cars, tennis? When he was being browbeaten by Henry in the car, tennis? His going to the school?

8. April, crashing into Henry, the outings, her being fascinated by Raymond? Her attraction towards Henry, the tennis match? The compromising position? Her response to Henry's honesty?

9. The gallery of characters: the dodgy brothers and their selling of the car, Henry and his taking it without much consideration, April laughing at it, its collapsing? His ingenious idea of getting his own back on the brothers, their buying it back and its collapsing? The maitre d' and his snobbishness at the hotel? Hattie Jacques and her instruction in the course? Irene Handl as the landlady? Edward Chapman bewildered as Mr Gloatbridge?

A popular type of British comedy of the 50s?

SONG FOR A RAGGY BOY

Ireland, 2003, 100 minutes, Colour.
Aiden Quinn, Iain Glen, Marc Warren, Dudley Sutton, Alan Devlin, Stuart Graham.
Directed by Aisling Walsh.

Song for a Raggy Boy is one of several Irish films, made in 2001-3, on themes of physical and sexual abuse in the Irish Catholic Church. They include The Magdalene Sisters, Sinners, Evelyn, Conspiracy of Silence.

Audiences who regret the dramatisation of Catholic scandals on screen will be upset by these films. The films can be seen, however, as a necessary part of people's coming to terms with abusive behaviour by official church personnel, an acknowledgement that it occurred and had lifelong damaging effect on victims, that compassion was sometimes slow in coming from the authorities and that alarm led to slowness or reluctance in dealing with abuse. This is part of the church's examination of conscience concerning revelations about what has occurred in recent decades. Patrick Galvin, author of the novel on which the film is based, spoke about the effect of writing the book and of collaborating on the film as an 'exorcism' of the past for himself. Often the victims want only an acknowledgement by the church and the perpetrators that these events happened.

This film is set in 1939 in a school reformatory for boys, some younger than twelve, managed by the local bishop with a priest in charge and staffed by brothers. The brother-prefect is a stern disciplinarian who resorts to excessive physical punishment and humiliation of the boys. One brother is a sexual abuser. There is only one sequence of sexual abuse, visually reticent, but all the more horrendous because of this. It is a disturbing reminder of the reality of such abuse, the pathology of the brother and, particularly, the pain of the reluctant victim who speaks of this in the confessional and is advised to keep what has happened to him to himself.

The physical abuse is alarmingly violent and, dramatically, over the top. Many older Catholics, however, will have stories of these kinds of punishment. For the sake of the narrative, they are put together in a hundred minute film which can give an impression that this was the sole way of dealing with problems.

Song of a Raggy Boy, like the other Irish films (and the presentation of dominant clergy in such films as Ryan's Daughter, The Butcher Boy or Lamb) asks pertinent questions about the severity of the Irish Church, the collaboration with the state in running institutions of correction (and using the same methods of discipline and punishment that were prevalent in those times in state and other institutions) and the screening and training of clergy and religious.

Older Catholics and members of religious congregations can attest that in those decades, and even up to the 1960s, training was often very harsh, a formation in subduing the will by self-denial and severe and penitential practices that led to a sometimes morbid spirituality. The renewal in religious congregations asked for by the Second Vatican Council was intended as a rediscovery of the original Gospel spirituality of the founders with a consequent spiritual, moral and psychological maturity. Processes of healing of memories have been encouraged. This film is a reminder that religious men who entered an order in their mid teens and underwent this kind of formation absorbed it and saw it as the pattern for their ministry in schools but applied it sometimes in unconscious compensation for their lack of emotional development.

Actor, Iain Glenn, who portrays the sadistic Brother John, is quoted as using this kind of background to understand how his character could act in the way that he is portrayed.

It should be noted that there is a sympathetic older brother, played by Dudley Sutton, and a superior who wants change and compassion but who has learned to live with the limitations imposed by authoritarian superiors.

This is not to say that the film is joyless - a comment made on The Magdalene Sisters. In fact, the model for the film is the genre of dedicated teacher (Dead Poets Society, Dangerous Minds, The Emperor's Club, Mona Lisa Smile) who comes in to share a passion for their subject (here English and Irish language and poetry), educates students and transforms them as well as challenging the status quo. Aidan Quinn is William Franklyn, a veteran of the Spanish Civil War, who is the first lay teacher in St Jude's school.

Critical comment on the film has been quite varied. It has been invited to several festivals, from Karlovy Vary to Hong Kong. Many critics, who are not aware of the realities underlying the plot, have dismissed it (and laughed at it) as over-dramatic, even hysterical. Those who know the issues from the inside may agree that the violence shown, especially towards the end, is too much for the drama to be fully effective, but will find much in the film that speaks to their experience, much to reflect on.

Post-script: Catholics will notice quite a number of erroneous details, from vestments and selection of religious pictures to thinking that brothers are ordained. Advice from a technical adviser would have quickly remedied these details.

1. The impact of the film for church audiences, non-church. Irish audiences, non-Irish?

2. The situation at the time of the film's release, cases of physical and sexual abuse, prison sentences, especially in Ireland? The author, Patrick Devlin, saying that the novel and the film were an exorcism of his harsh memories? The film as a contributing part of the examination of conscience of the church and its authorities concerning these cases?

3. The film as a memoir of Patrick Devlin, authentic? Heightened for the sake of the drama - especially the scenes of brutality, with the touch of hysteria? 1939, the recreation of the period, its look, the religious statuary and pictures, the music, the hymns, the outbreak of World War II?

4. The significance of the background of the Spanish Civil War, William Franklyn and his place in the war, the opening, the flashbacks throughout the film, his memories and grief? The war itself, the execution of his friend and of Rosa? His relationship with Rosa, love for her, the gift of the book of poems? The scenes of violence of the war? Franklyn's comment that it was a war between those who did not have and those who did not want them to have it? The poetry of the civil war? The role of communism, especially as regards the Catholic stances? The symbolism of a fascist war in a Catholic country?

5. William Franklyn, his age and experience, not having a job, arriving at St Jude's? Welcomed by Brother Tom? Father Damien, the explanations of the school? The austerity of his room, the austere lifestyle? The dining room and the silence? The classroom, his taking a stance and assuring his authority? The discovery that so many of the boys could not read? Their suspicions of him, seeing him as another one of the staff? The relationship with Brother John, his warning about the boys being scum? The classes, the discussions, calling the boys by their name, helping them to read? The enterprise of building the crib and its effect on the boys? His giving them excerpts of poetry and drama to memorise? His discussions with the boys, especially with Mercier, the poems, giving him the book? His willingness to answer questions and Mercier challenging him about his past, the civil war, Rosa? The growing loyalty of the boys? Their respect for him? The crib and the ceremony in the church, the congratulations, taking the boys home after the crib without the discipline of Brother John, his giving of Christmas gifts?

6. Brother John, slapping the face of the boy, Franklyn stopping him, the growing enmity? The Superior and his knowing the reality of the situation? The boys being flogged at Christmas, the clash on the previous evening with Brother John about the boys going home? The build-up to Mercier's death? The funeral and Franklyn denouncing the death as murder? His packing, going through the yard, the boys following him, surrounding him and his not leaving? The significance of a Catholic layman in a school like this at the time? The postscript about his death in Normandy?

7. The presentation of the regime of St Jude's, a church institution, a state institution? The photo of the confirmation boys with the bishop? The band and "Faith of Our Fathers"? The bishop and his departure, his support of Brother John? Father Damien and his role as Superior? The brothers starving the school? The boys and their having numbers and being referred to as numbers? John as prefect, the nature of his discipline, dominating the boys? The punishments, the aftermath of Franklyn's intervention and the boys in their underpants outside in the cold raising their arms? The supervision of the dormitories, of silence in the refectory? The boy with his mattress parading after wetting the bed? The slapping of the boy's face, the flogging of the boys on Christmas Morning? The death and the cover-up? The inhumanity of the scheme? Church and State - and similar methods of discipline used in state institutions? The military model as the boys lined up and marched out two by two?

8. Father Damien, his wanting change, his reliance on Franklyn, his not sacking him, the explanation of the bishop's role, Brother John's role, having to live with the system in order to change it? Praising the boys at Christmas for the crib? The end and his grief at Mercier's death?

9. Brother John, his age and experience, a strong man, the reliance on discipline, discipline in his own life, his seeing the boys as scum and dregs and therefore treating them harshly, slapping the boy across the face, the barrier in the yard? His not wanting his authority challenged? His feeling Franklyn's defiance after the ceremony in the church at Christmas? His belting the two boys and drawing blood? Waiting for revenge, summoning Mercier, his brutality towards him, hitting him, asking him questions, his being the substitute for his anger at Franklyn? His hold over Brother Mack and knowing of his misconduct? The issues of religious life and training, a member of a religious order acting like this in the name of the church, personal compensation for lacks in his life, psycho-sexual dimensions of his behaviour, frothing at the mouth? His disgrace and his being sent to work in Africa?

10. Brother Mack, place on the staff, supervision, a seemingly ordinary brother? Age? The scene of his sodomising Delaney? His swearing the boy to secrecy, giving him gifts? The portrait, very brief, of the paedophile? His reaction to Delaney's mentioning the incident in confession, punishing him? His own personal prayer and desperation? John and his knowing? His taking Mercier to Brother John, watching the flogging, running away, seeking Franklyn to resolve the situation? The aftermath and his going to work in America?

11. Brother Tom, genial, age and experience? The brother in charge of tailor room, the boys working there, a greater sense of happiness and freedom, the brother and his humane treatment of the boys?

12. Mercier as the focus of the boys, his background, surly attitudes, bullying of Rogers, change of heart? Visiting Franklyn's room, aggressive attitude, changing, the poetry and the reading about the poem of the volcano erupting? The growing trust? Building the crib, the Christmas experience, the gift? His being sent for, his silence in the face of Brother John's demands, the brutality of his death? The funeral and the gathering? (?)

13. Delaney, his arrival, being given a number, his background, his being a victim of Brother Mack, his explaining the situation of depression and the priest telling him that it must not leave the confessional?

14. Peters, cheeky, not being able to read, the other boys urging him to learn to read so that he can make something of himself? His younger brother, the Christmas meeting across the barrier, the sharing of gifts, Brother John's catching them, the brutality of the flogging? The background of the visit of their father? The brothers supervising the visit?

15. Rogers, being bullied, Mercier helping him, memorising the poem?

16. The range of boys, their age, their sentences? Harsh administration and education versus affirmation and drawing out of potential? The themes of education in the times, the training of the religious brothers? The harsh Irish church, authority and power? The reality of abuse?

SHADOW OF THE VAMPIRE

UK/US, 2000, 92 minutes, Colour.
John Malkovich, Willem Dafoe, Udo Kier, Cary Elwes, Catherine Mc Cormack, Eddie Izzard, Aiden Gillett.
Directed by E. Elias Merhige.

A real oddity - and very enjoyable for movie buffs. It's a 'what if...?' of movie history. F.W.Murneau's Nosferatu was the first adaptation of Bram Stoker's Dracula (with names changed because the Stoker estate would not give authorisations) in 1922, now viewed as a classic of Expressionist German silent cinema. The what if...? is what if Max Shreck, the actor portraying Count Orlock (the substitute name for Dracula), were in reality a vampire? John Malkovich portrays Murneau. He has done a deal with Shreck: that he can have the cantankerous heroine when the film is made. Actually, Murneau is vampiric in his sucking out his performances from his cast and crew. But Willem Dafoe as Shreck (practically unrecognisable) almost makes you believe that this is what happened.

The film is a prolonged single joke but staged imaginatively and with some grandeur, enabling the audience to experience early styles of film-making as well as the intensity of vision of obsessives like Murneau.

1. An entertaining film? Horror film? Film about silent film-making?

2. The title, the reference to Dracula, Nosferatu? The background of the making of the 1922 Nosferatu by F. W. Murneau and the performance by Max Schreck? The background of Bram Stoker's estate refusing to sell the rights of the Dracula story to Murneau? His changing the title to Nosferatu with Count Orlock but using the same story?

3. The colour photography, the recreation of the studios of 1922, Berlin, train journeys, the Czech locations? The black and white photography recreating the film?

4. The scenes recreating the original film, seeing the background, the direction, the writing? Performance? The recreation of film-making and the insight into the methods, personalities, style, accidents of filming?

5. The film as a conceit: what if Max Schreck were really a vampire? That Murneau knew of this? That he made a deal with Schreck that he could have the obstreperous heroine at the end of the film? The film-maker's treating it as if it were the reality? Audiences believing that this could have been possible?

6. John Malkovich’s portrayal of Murneau: his background, his collaboration with the producer, with the writer, with the cinematographer? The cinematographer becoming ill and his finding the substitute in Wagner? His dealing with the stars, with Greta and her moods and drug-taking? His eye for performance, his eye for visual detail? Seeing and hearing him direct? Capturing moments? His dealings with Schreck, the mystery, going to Czechoslovakia, to the inn? His discussions with Schreck, the deal, reprimanding him, getting a performance from him? The end and his continuing filming after the death of his producer as well as of other members of the crew and of Greta? His subsequent career? Insight into an obsessive director of genius?

7. The build-up to the appearance of Schreck, the mystery of his identity, working with Max Reinhardt Company? Going to Czechoslovakia, the information about his performing only at night? His method, immersing himself in the role? The first visuals? Willem Dafoe's clever impersonation of Schreck, his performance within the film? His appearance, fingernails, wizened face? The living vampire? His appearing on set, his breathing, snarling? The sequences for the film and the exact parallel with the original? His contract with Murneau, drawing on it, his being tantalised by blood, unable to resist? The cinematographer? The scratching of the hero, sucking his blood on screen? His wanting to meet Greta? Murneau and his having to reprimand Schreck? His living the part, his presence, interactions with the company, keeping aloof, staying in the castle? The build-up to the finale, Greta's arrival, her tantrums? His seemingly vampirising her on screen, Murneau continuing to film?

8. The cast, Gustav and his performance, his following direction, indicating how a silent star worked? Off camera, his reaction to the process, his ordinary life, the relationship with Greta? The other members of the cast? Greta, her wanting to be on stage, her tantrums, her arrival, rehearsal? The laudanum? The performance of the final scene, Schreck and his biting her neck?

9. The producer, insight into the problems of producing, financing, organising the shooting for the day, the travel to Czechoslovakia_? His relationship with Murneau, supportive? Schreck and his killing him? The cinematographers and their skill? Wagner and his coming from Africa, his taking over, the relationship with Greta, her disdain? His being attacked by Schreck?

10. The people in Czechoslovakia, the inn, superstitions, the people as extras, the landlady coming into the scene and wanting the film-makers out?

11. Audience familiarity with the Dracula story, the nature of vampires, his planning to move, the trip, the property, the boat - and Schreck's not wanting to film because of fear of being on the boat, and their building a model? The attraction of the women, the blood? The Living Dead?

12. The entertainment value of the film for the ordinary audience? For film buffs who know the characters, the styles of film-making, the ironic implications of the screenplay?