TRANSPORTER 2

France/US, 2005, 88 minutes, Colour.
Jason Statham, Alessandro Gassman, Amber Valetta, Matthew Modine, Jason Flemyng, Keith David.
Directed by Louis Letterier.

This is one of those slambang action films – like The Transporter in fact! – which reviewers all bemoan. Not another explosion! Which action fans love. Good, another explosion! Which makes one feel guilty for enjoying this one (that is, for those who do, as I did).

Jason Statham (former Olympic diver) has found a niche in action films, especially those of Guy Ritchie (Lock, Stock and Two Smoking Barrels, Snatch and, in a more serious role, Revolver) as well as films like The Transporter and Cellular. He is fairly solid and stolid and with limited expressions. However, this can suit an audience as they read into him what his character might be thinking. And, in this one, he wears a coat and tie all the time, though when one coat is dragged off him in a fight, he finds a replacement. In this, he belongs to the James Bond school of action hero. And, of course, he can drive faster, more skilfully and weavingly than anyone else.

Plot does not really matter although it concerns the abduction of the son of the too-busy director of the DEA, his rescue and a sub-plot about a virus that can kill of a conference room full of VIPs within hours.
Written by Luc Besson (who really should be writing classier material but obviously enjoys this), directed by Louis Letterier (who directed the ugly Unleashed), it need not be on anybody’s must see list. But it was brashly entertaining while it was on screen.

1.The popularity of the Transporter series? The action films of Luc Besson and Louis Letterier? Popcorn action films? Jason Statham as the star?

2.The transition of the Transporter from France to Miami? The Miami settings, wealthy homes, businesses, yachts? The range of aerial shots? The special effects, the action and stunts for chases? The musical score?

3.Frank Martin and his character established in Transporter? His work in France? The transition to the United States? His British background? His being employed to get the boy from school? The appointment with the doctor? The abduction of the boy? The confrontation with the thugs, the fight sequences?

4.Audrey, Jefferson, their discussion? The role of Jefferson in drug enforcement?

5.The doctor’s office, the thugs, medical staff disguises, giving the boy the injection, the infectious virus?

6.The gangsters, Frank and the bomb with his car? The spectacular disengagement of the bomb and the movement of the car through the air?

7.The ransom, five million dollars? The parents, their response, getting the money? The boy and his family?

8.Jefferson, the conference, the officials, the plan that he will spread the virus, the virus coming from his son?

9.The importance of the antidote, Frank and his search for the antidote – and the threat to all the drug enforcement leaders?

10.The personality of Gianni, the leader of the drug cartel, his injecting the antidote into himself?

11.Inspector Tarconi, his being on holidays in Miami, Frank and the collaboration with the inspector? The pursuit of Gianni? The plane, the crash?

12.Frank, mission achieved, getting the antidote? The happy and safe ending?

13.An entertainment matinee action film? How realistic? How farfetched in its conspiracy theory? How farfetched in its hero resolving the problems?

ASTERIX AND CLEOPATRA

France, 1968, 72 minutes, Colour.
Voices of: Roger Carel, Jacques Morel, Micheline Dax.
Directed by Rene Goscinny and Lee Payant,

1968’s Asterix and Cleopatra was the second of the animated films, the first being Asterix the Gaul. Animated films of the popular Asterix comics have continued to be made right into the 21st century (with Roger Carel in 2006 still voicing Asterix).

The films keep fairly faithfully to the comic strips, with the look of the characters, their mannerisms, behaviour. The dialogue is also witty with its play on words.

In this film, Cleopatra calls on the help of Asterix and Obelix to build her a summer house in time to win a bet against Julius Caesar and his architects.

Three live-action films of Asterix and Obelix have been made, especially with Gerard Depardieu as Obelix: 1999’s Mission Against Caesar, 2002’s Mission Cleopatra (with Monica Belucci as Cleopatra) and Asterix and the Olympics for 2008.

1.The popularity of the Asterix cartoons? Entertaining, humorous, their view on history, the conquered Gauls, the conquering Romans, the Egyptians? The drawing style and its keeping close to the comic strips?

2.The animation of the strips, the backgrounds, the characters, the action? The wit? The songs?

3.English versions and the dubbing of jokes about Egypt, the play on words and names?

4.Egypt, audience interest? Cleopatra? Caesar and the caricature, his conquering Gaul, his confrontation with Cleopatra and the test?

5.Cleopatra, her shrewish behaviour? Dramatic, her court, the building, wanting the summer house, the pomp? The lion and the crocodiles?

6.The architect and the buildings, the concern, the collapse, the rivalry? The bad deeds? Going to Gaul, relying on Asterix and co?

7.The light touch with the Gauls, Asterix as the hero, nice, Obelix and his weight, eating, enjoying himself? The priest and the potion?

8.The building, the work, the success? The stone and the journey?

9.The dastardly actions of Caesar and his friends?

10.An overall success for Cleopatra? For the Gauls?

LA NUIT DE VARENNES

France/Italy, 1982, 134 minutes, Colour.
Jean Louis Barrault, Marcello Mastroianni, Hana Schygulla, Harvey Keitel, Jean Claude Brialy, Andrea Ferreol, Laura Betti, Pierre Malet, Daniel Gelin.
Directed by Ettore Scola.

This film is considered a masterpiece by Ettore Scola, a prolific writer for films in Italy and France from 1952 to 2003 (eighty-seven credits). He began directing films in 1964 and made such striking films as Passione d'Amore, Le Bal and We All Loved Each Other So Much.

The film is based on a historical episode, though the situation of the film itself is highly stylised and contrived. On the night that Louis XVI and Marie Antoinette and their children tried to escape from Paris but were arrested in Varennes, the film has a group of 18th century characters in a stagecoach, travelling together to Varennes, discussing the issues of the French Revolution, liberty, aristocracy, the New World. They include Marcello Mastroianni as Casanova, Harvey Keitel is the American Thomas Payne. Hana Schygulla portrays an aristocratic countess.

The film is literate in its dialogue, strong in its characterisations, offering audiences plenty to reflect on as well as issues to think about.

1.Acclaim for the film? Its historical perspective? Insights? Relevance to contemporary politics and times?

2.Immersing the audience in the 18th century: Paris, the city streets, shops, the palace? The countryside, the roads and the coaches? The inns? The town of Varennes? The night sequences? An experience of the period? The range of the musical score?

3.The structure of the coach journey, the stagecoach, the experience of the passengers, the pursuit, the time span?

4.The structure of the film and the interweaving of the various stories? The novelist, Thomas Payne, the countess, Casanova, the staffs? The student? The revolutionary? The parallel with the travel and journey of the king and queen? The tension and its resolution? And the death of the king and queen?

5.The novelist, Jean- Louis Barrault and his reputation? His skill as an author, observation? Repute, publishing? The sexual preoccupation? The daughter and his passion? The prostitutes? His novels? The love of gossip? Involvement in the palace? Curiosity? His rash behaviour, the ticket, the horse? An interesting character, how sympathetic, antipathetic? His foibles?

6.The novelist as being the central character, in himself, his views, behaviour, the rake? His interactions with the other passengers, the discussions with Casanova, sharing with him? The enjoyment? The issues of past affairs, paternity? His attitude towards royalty? The discussions with Thomas Payne, the issues of liberty, the Americas? The night in Varennes?

7.His final observations, the film moving into the 20th century? The perspectives of prophecy?

8.The night at Varennes itself? The French Revolution, the aftermath of the initial uprising? The feelings against the aristocracy, against the monarchy? The attitude of the people, especially in Varennes? The role of the government, the church? The issues of equality, fraternity? The escape of the king and queen? The military? Lafayette? The reaction of the crowds, the arrest, the lack of sympathy for Louis XVI and Marie Antoinette? The moving into the 20th century – and the helicopters?

9.The king and queen in themselves, sympathy for them, their escape, the prudence of the escape or not? The chase, the plans? The arrests, the reactions? Their being symbols of the revolution?

10.Harvey Keitel as Thomas Payne? The American, the English background, his political theory? The American War of Independence, the Constitution? His involvement? Observing France, judging it?

11.Marcello Mastroianni as the older Casanova? Casanova’s reputation, founded in reality or not? His age – and his reference to his fame after his death? His appearance, in the carriage? His charm, attitude towards the ladies – yet resistance? The meals? His escape from Germany, the discussions? His interest in the novelist? The dresser and his sexual orientation – and Casanova’s kiss and comment? His helping, the talk, the discussions about the monarchy? The discussions about Don Giovanni? The portrait of Casanova?

12.The countess, her personality, the haste to leave, her Austrian background and the connection with Marie Antoinette? Her dresser, her African servant? Her anxiety? Charm, listening, regrets? Interactions with Casanova? The comments on the aristocracy? The attack, the slap, the apology? Too late – regrets?

13.The black servant, presence in France in the 18th century, her work? On top of the coach? Interacting with Emile, his ideas? The kiss? The people in the field?

14.The opera singer, her Italian pomposity, foibles? Her husband? Mistress? The judge and his wife? Offended by the novelist’s stories?

15.The widow, her presence, her being in mourning, her wealth? The interactions with Casanova?

16.The businessman, his presence in the coach, the effect of the revolution on him, his contribution to the discussions? His observing?

17.The dresser, his sexual orientation, his manner, with Casanova? The final irony of the countess and the dresser putting the clothes on the wooden dummy and reverencing it? A symbol of the ineffectualness of the king?

18.The journey itself, difficult, the meals, the inns, refreshing themselves, the tensions, the places to sit, walking, the discussions?

19.How well did the film raise a number of viewpoints and interactions? A symbolic night, the 18th century – and with the French Revolution and the execution of the king and queen, the end of an era?

IGOR

US/France, 2008, 84 minutes, Colour.
Voices of: John Cusack, Steve Buscemi, Sean Hayes, Eddie Izzard, Molly Shannon, Jay Leno, Jennifer Cooledge, Christian Slater, Arsenio Hall, John Cleese.
Directed by Tony Leondis.

Adult horror fans will immediately respond to the name, Igor. He's the hunched one who helps mad scientists or vampires get their work done. Not sure what a children's audience will make of him. They will miss the Frankenstein parallels. Perhaps they will just enjoy the bizarre settings, characters and plot.

The animation for Igor and his country of Malaria is bright and creative with its range of mad doctors, Igors and machines. Malaria used to be prosperous, but at the behest of the King, evil scientists created clouds which darkened the country. The main industry became the invention of evil and destructive machines – for which the rest of the world paid protection money so that the machines would not leave Malaria and wreak havoc. So far, so bad for Malaria.

Each year there is a competition for the most destructive creation at the Evil Science Fair. Dr Schadenfreude wins each time because he steals other scientists' ideas. This year, despite his ambitions to depose the King, he is in for a shock.

Igor is one of many hunchback assistants in the land (whose degree, cleverly, is a Yes, Masters degree). His ambition is to create the winner of the competition (he already has some secret creations, a scatty brain in a bottle and a chattering rabbit with a death wish. Now he creates Eva – but she wants only to be an actress (and keeps singing the excruciating song from Annie, 'Tomorrow'). Will she destroy? Will Igor fall in love with her? Will Igor see the evil of his ways? Will Dr Schadenfreude prevail? What do you think!

You can see the wry sense of humour behind the storytelling, some slapstick laughs and some spoofing and some popular songs sung by Louis Prima.

The voice cast is very good indeed. John Cusack bears the brunt of it with a great deal of dialogue as well as voiceover as Igor. John Cleese is his mad scientist boss and Eddie Izzard is Dr Schadenfreude while Jay Leno is the King. Much of the humour comes from Sean Hayes voicing the Brain and Steve Buscemi as the rabbit. Eva is Molly Shannon.

Not a great animation comedy but quite entertaining.

1.The audience for this animation film? Enjoyment for adults? Some puzzles for children? The style of the animation, characters, plot, movie references? Spoof?

2.The visual style: the settings and the echoes of horror films, the castle, laboratories? The creatures? The colours, dark and light, bold? The score and the range of popular songs – and the spoof of Annie?

3.The Igors in the country? The hunchbacks, the Yes Master degree? Their not being able to be inventors? The range of Igors in the country?

4.Malaria, its situation, evil, the king, the clouds covering Malaria, the economy, making creatures and being paid not to release them on the world? The Evil Science Fair? The threats to the king, to be usurped?

5.The scientists, the mad scientist voiced by John Cleese? His destroying himself? Igor watching?

6.Doctor Schadenfreude? In himself, his accomplice, sinister villain, stealing people’s adventures, wanting to take over the kingdom?

7.Igor himself, the voice-over, his plans, with the rabbit, with the Brain? There being his creations? Creating Eve? Her wanting to be an actress, singing from Annie? Trying to persuade her to be evil? His change of heart, seeing the truth, falling in love with Eve?

8.The comic styles of the Brain and the rabbit?

9.The media coverage, Arsenio as the invisible interviewer?

10.The climax at the fair, Schadenfreude being defeated, not being king? His wanting to get rid of the king? The king and the confession of what he had done?

11.The change for Igor – and the fact that he could see clearly now …?

FUGITIVE PIECES

Canada, 2007, 104 minutes, Colour.
Stephen Dillane, Rade Serbedzija, Ayelet Zurer, Rosamund Pike, Robbie Kay, Ed Stoppard, Rachelle Lefevre, Nina Dobrev, Devon Bostick.
Directed by Jeremy Podeswa.

A very moving and elegant film. As the title, suggests, it is a film of the interweaving of experiences and memories, pieces of memory which sometimes elude, which are sometimes overwhelming.

Writer-director Jeremy Podeswa has adapted a poetic novel (and very popular best-seller) by Anne Michaels. It is the kind of adaptation that Anthony Minghella did for The English Patient, taking a novel of impressions and creating a narrative framework while preserving the elusiveness and the allusiveness of the original.

Fugitive Pieces moves from Toronto in the 1970s back to Poland during the war to Toronto in the 40s, 50s and 60s and back to the Greece of the war years and the Greece of the 60s and 70s. The screenplay is written to remind us how we might be doing one thing which can immediately set off a memory of something or someone else. What helps us to do this with great empathy here is the character of Jakob, the young Polish Jew who is taken to Greece and then to Canada where he grows up, becomes a writer and something of a celebrity. He is given greater power by the performances of the two actors who portray Jakob: Stephen Dillane as the adult Jake and Robbie Kay as the traumatised and wide-eyed Jakob. (Both actors are British.)

The memories of Poland, the arrival of the Gestapo and Jakob's loss of his family are dramatically poignant. However, he is saved by a Greek archeologist, a rugged but kindly man, who smuggles Jakob out of Poland to bring him up in Greece. Rade Serbedzija, who is so often a villain or a boisterous character in his films, is warmly sympathetic here as Athos, who takes Jakob with him to settle in Canada after the war.

The picture of Jewish migrants settling in Canada during this period is also a strong theme, especially with Athos' neighbours in the rather grim apartment block. The mother speaks Yiddish as does Jakob; the father is still living the deprivations of the war and there is a strong scene where he rebukes his very young son for not finishing eating a whole apple, quoting how they suffered during the war. The boy grows up admiring Jake (and is played as a teenager by Devon Bostwick, who was the central character in Atom Egoyan's Adoration and as an adult by Ed Stoppard).
Jeremy Podeswa is a literate writer and directs the film with deep feeling and, in the scenes with Athos, with great warmth. Fugitive Pieces is a fine blend of emotion and intelligence.

1.A film of Jewish memories? The war, Poland, Greece? The transition to post-war Canada? The period from the 40s to the 70s?

2.The adaptation of a poetic novel, creating characters, a narrative yet making the film one of interconnecting memories?

3.The title, the effect of the time-shifts? Poland, Greece and childhood? Adult crises in writing? The return to the arrival in Canada? Jakob’s younger years in Canada? The interconnection of the memories? As memory does?

4.Poland and its darkness, the lightness of Greece, colder Canada? Ordinary and businesslike Canada?

5.The musical score, the range of moods, for countries and times?

6.Jake in middle age, his relationship with Alex, the tensions about their going out, his not wanting to socialise? Their break-up? His writing, his working with Athos and the memories of Athos? His becoming a celebrity? His returning to the islands, his being at home and the island way of life? The people? Memories, writing a new book? His return, its success? His relationship with Ben and his wife? Their introducing Michaela, his attraction towards her, the talking, sharing, at ease with each other, commitment? Going to Greece? A future together? Transforming Jake?

7.The memories of Jakob, the Gestapo, his mother hiding him behind the curtain, his love for his sister, seeing her taken away, his mother going? His father’s defence and his being killed? The recurring memories of his family, their being together, the encouragement of his mother, the stories? His love for Bella and her constant reappearance in memories of real life, in his dreams? The trauma, his being told to stay inside, his wandering out, burying himself like the crops, fatalistic? Athos finding him, reviving him, caring for him? The escape from Poland in the car and pretending to the Germans that there was an infectious disease? Jakob and his going to Greece with Athos? The effect and power of these memories? His continually going back, his yearning for Bella, hoping that she was alive – and only finding after Athos’s death that he had constantly made inquiries to find her?

8.Athos as a character, rugged and warm, his being an archaeologist, a Greek? His care, finding Jakob, taking him through the border? The memories of Eleni? His home, helping Jakob to grow up, taking him to Canada, their settling there? The dingy apartment? Yet the luxury compared with the war years? His work in academia, his writing, his friends? Finding a place in Canada? Guiding Jakob into adulthood? His writing – and his dying while writing?

9.The glimpses of occupied Greece? The Gestapo, the people in the village, the woman and her care for Jakob, telling him about Athos and Eleni? The gathering of the people, the stipulations of the Gestapo, the woman protesting – and her being shot?

10.Greece in the decades after the war, prospering, the way of life, Jakob at home there?

11.Canada, the meeting with the neighbours, becoming friendly with them, speaking Yiddish with the mother, sharing their experiences? Ben and his birth, Jake telling the story of the premature birth and how small Ben was? His care for Ben? Ben and his difficulty with his father, his father’s sternness and memories of the war deprivations, the mother more tender? The issue of Ben not finishing the apple and his father’s reaction? Ben growing up in fear of his father? His mother dying, his father’s grief?

12.Ben as a young boy, an adolescent, admiration for Jake? His writing, his marrying Naomi? The continued friendship? The meal – and the invitation to Michaela?

13.Michaela, her work as a librarian, coming to the meal, the meeting with Jake, listening to his stories, her own stories? Sharing, listening, the sympathy, love, with fulfilment of Jake’s hopes?

14.The traumas of the past, broken lives, struggles – yet love bringing the broken pieces together?

NIGHTS IN RODANTHE

US, 2008, 97 minutes, Colour.
Diane Lane, Richard Gere, Scott Glenn, Mae Whitman, Charlie Tahan, Pablo Schreiber.
Directed by George C. Wolfe.

Nicholas Sparks has written some very popular best sellers which are highly emotional. Several have been made into films, Message in a Bottle, A Walk to Remember, The Notebook. Such novels and films are easy to look down on as romantic tearjerkers – and they are – but who says we can't like this playing on our emotions? (It's only 'manipulation' when you don't approve of it!)

Adrienne, the mother of a critical teenage daughter and a bookish 10 year old son, grieving the recent death of a beloved father and upset that her husband has walked out on his family for another woman but who is now pleading to be taken back, helps out a close friend at her guest house resort on the North Carolina coast for the weekend. A hurricane is strengthening in the Atlantic. But, that will be nothing to the emotional storm she will experience. The only guest is a doctor, Paul, who is fighting a malpractice lawsuit and whose doctor son is alienated from him and has gone to work for the poor in Ecuador. Even though you can make an educated guess – or, really, any old reasonable guess - as to what is going to happen (and, by and large, you will be right), most will not be able to avoid a tear or two (or more).

Time must be passing. Richard Gere plays Paul and James Franco plays his son. Gere will be 60 in 2009. On the other hand, time is not passing so fast that the plot is not similar to many that we have seen so often over the decades, and will probably see many times more.

But, on the whole, this is Diane Lane's film. She makes her character more interesting and easy to identify with than many other actresses, ordinary in her life and troubles, but with that something extra which makes her a committed mother despite everything and open to more vitality in her life. Richard Gere is, well, Richard Gere, exerting his charm as usual even though he has to learn to be a more humane doctor in his dealings with people. There is a strong sequence with Scott Glenn as the bereaved husband of 43 years whose wife has died inexplicably on the operating table.

And the North Carolina scenery is magnificent even if the prospect of hurricanes is daunting.

1.An old-fashioned love story, love, death, grief? 21st century style?

2.The feelings, sentiment? For older audiences? Identifying with the characters, their experiences?

3.The North Carolina locations, the island, the coast, the long roads, the ferries, the beaches? The horses? The eccentric house? The isolation? The contrast with the town? The hurricane threatening, the rain? The musical score?

4.The title, evocation for Adrienne, for Paul? Life-changing?

5.Adrienne, the opening memories of her father, his death and her grief? Her age, married for many years, her husband’s walking out? With Amanda and her difficulties? With her placid son? Getting her children ready for their father? The father and his speech, his clichéd life, leaving, the younger woman, wanting to come back? The pressure on Adrienne? The boy for his mother, Amanda for her father? Blaming her mother? Touches of bitterness? Yet their mother’s desperate love for them?

6.The situation for the weekend, Jean, going off, the meeting, meeting men, the phone calls to Adrienne? The house, Jean’s inheritance? Adrienne driving, setting up the house for the visitor, feeling flustered, the phone calls to the children? Paul and his arrival, settling him in, talking, cooking, the meal, Paul coming into the kitchen, sharing the wine?

7.Paul as a doctor, his wife walking out, alienation from his son, his son’s anger? Working with him for the operation? Walking out? The operation, the death of the woman, the anaesthetic? The staff’s reaction? Paul not speaking to the husband? The lawsuit, his coming to stay for the weekend, wanting to visit the family? Issues of blame? Driving to the house, the son’s anger and kicking the car? His father and the visit, the father telling the story, forty-three years of marriage, his devotion to his wife, the cyst, her wanting the operation? Adrienne listening, giving advice to Paul? Paul going with Adrienne, the discussions with Robert Torrelson? The sharing? Paul and his learning what was needed to deal with people?

8.Paul and Adrienne, their loneliness, the storm, the shutters, her art? Their support, the sexual liaison, depending on each other, sharing, this turning to love?

9.Paul and his going, travelling to Ecuador, working with his son, the visualising of this work? The rapport with his son? The letters to Adrienne? His changing?

10.Adrienne, going home, not taking her husband back? Trying to deal with this with her children? Her delight in Paul’s letters? Discussions with Jean? Hopes, his arrival, his not arriving?

11.Mark coming to the house, his story about Paul’s work, Paul’s death? Her grief? Making the box for him? Reading his last letter, full of hope?

12.The future, with her children, acceptance? Sharing with them?

13.A life-changing experience? A better future for Adrienne even through her grief?

GHOST TOWN

US, 2008, 102 minutes, Colour.
Ricky Gervais, Greg Kinnear, Tea Leone, Dana Ivey, Alan Ruck.
Directed by David Koepp.

What a pleasant surprise. Ricky Gervais is usually seen as a poker face, unemotional, acerbic presence in his television series, The Office and Extras, and in his films, like the severe manager in A Night at the Museum. Actually, for most of Ghost town he is pokerfaced, unemotional and acerbic. You guess that he will have to change by the end of the film but it doesn't seem likely. It is to Gervais' credit as a comic and serious actor and his timing that he finally does get our sympathy.

Very soon into the film you realise that this is a variation on the Scrooge and ghosts themes of Dickens' A Christmas Carol. Gervais' British dentist, Bertram Pincus, has migrated to New York and is strong on denouncing (or ignoring) what he would see as humbug. He likes being a dentist because he can put equipment into people's mouths to stop them talking!

The film has barely started when Greg Kinnear, as a charming cad, is killed and becomes a ghost. Our dentist undergoes an operation, is affected by a negative anaesthetic and finds himself in a medium state of ghosliness (reminiscent of Whoopi Goldberg in Ghost only she was very nice). Soon there are plenty of ghosts who want him to help resolve some issues that they were not able to do because of their untimely deaths. Will the dentist help them? Not likely.

However, he does agree to stop Kinnear's widow marrying again. She is a paleontologist and is played attractively by Tea Leoni. Dr Pincus has the people skills of a robot and his responses and dialogue can be just as clunky. However, he is charmed – and the complications begin from there (especially with the ghost trying to coach him – and interfere).

This is not a laugh aloud comedy but there is a wry sense of humour pervading the film and Gervais remains resolutely British, uptight and in need of a good emotional shaking.
The ending might seem more than a little contrived but it satisfyingly feelgood.

1.A pleasing ghost story? Comedy, pathos, romance, love, care?

2.The familiar New York City: the streets, apartment blocks, museums? The dentists’ surgery? Yet the city full of ghosts? The background of Dickens’ A Christmas Carol?

3.The audience, response to ghosts, ghosts as intermediaries, ghosts as guardian angels? Experiencing a kind of purgatory, a judgment before they go to Heaven?

4.Frank, seemingly nice, dress suit, his talking on the phone, arranging things, the discovery that he was a cad? The couple with the air-conditioner, its falling? His not being killed, amazed, stepping in front of the bus? Becoming a ghost?

5.Bertram Pincus and Ricky Gervais’ comic style? British, reserved, lacking in people skills, blunt in his expressions, unconcerned about people (and the later story about being hurt by his girlfriend)? Treatment of his patients, his staff? Doctor Prashar and his lack of response? Letting him borrow the machine, not going to the celebration of his child? Sneaking away? The encounter with Gwen and his closing the lift door – and later preventing her from getting into the taxi and being drenched? At home, himself, selfish? Thinking of things as humbug? A contemporary Scrooge?

6.His illness, the medicine, going to hospital, his brusqueness in filling in the form, the encounter with the doctors, talking as he was being wheeled in, his wanting general anaesthetic? His generally being unpleasant, getting up, going home? Encountering the ghosts? His return, asking the questions about what happened, the doctor and her awkwardness, getting reinforcements, the seven minutes of his death?

7.Frank appearing, making his request, Doctor Pincus’s reaction? Their discussions, the situation, Frank wanting to prevent Gwen from marrying Richard? His antagonism? Bertram’s encounter with Gwen, his awkwardness? Listening to her speech, at the exhibition, giving the dental analysis for the death of the corpse? His going on the date – checking his diary, agreeing to discuss matters with her? His explanations? The invitation to the opening of the exhibition?

8.The meal, Frank’s presence, Richard, Gwen cooking, the meal? The cross talk because of Frank’s presence? Richard and his charity work, urging Bertram to do this? Richard’s personality? Going off to the court?

9.Frank, his harsh interpretation of Richard? Bertram and his defending Richard?

10.The range of the other ghosts, haunting Bertram, talking to him, being in his waiting room, in the street, following him? In his apartment? The mother and her concern about her daughter? The father and his child’s toy? The builders and the man worried about his responsibility in their deaths? The dentist? The naked man? The elderly, the nurse? Their needs? Situations needing to be put right?

11.Gwen, pleasant, her talent, wary about Bertram? Yet getting fond of him? Her wondering about his information, his explanation, Frank’s dream – and Frank tricking him? Her anger?

12.Bertram and his being upset with Frank? Gwen going to go to Egypt? Bertram pining?

13.His going to the opening, his apology?

14.In his surgery, upset, a better relationship with the Indian doctor who told him the truth? The ghosts, his refusal, finally talking to them? The collage of his doing the jobs, the mother watching her daughter, the builders and their friend feeling relieved, the father and his son getting the toy – and the mother being Bertram’s talkative patient? Their disappearing?

15.Bertram, the change, Gwen and her having to let Frank go and Bertram’s explanation? Frank’s disappearance?

16.Bertram, his success, proud, run over by the bus? Richard helping him to recover? Going to the hospital again?

17.Gwen, her visit to the dentist’s surgery – and the possibilities for a future?

18.A comic message, a nice and caring message? A good blend of British-style humour with American-style humour?

THE ROCKER

US, 2008, 103 minutes, Colour.
Rainn Wilson, Christina Applegate, Teddy Geiger, Josh Gad, Emma Stone, Jeff Garland, Jane Lynch, Jason Sudekis, Will Arnett, Howard Hesserman.
Directed by Peter Cattaneo.

Sometimes a trailer, which, of course, is designed to attract audiences to go to see a film, can be extremely off-putting. Having been trapped in some cinemas several times with the trailer for The Rocker, I was certainly not attracted but was rather dreading it. The central character, Fish, is one of those arrested development forty somethings who seems determined never to grow up, played by Rainn Wilson from the US version of The Office.

For the first ten minutes, every harsh preconception seemed to be being fulfilled as Fish (our non-hero) plays the drums in a rock group called Vesuvius.

But... a film isn't over until it's really over. And, after ninety minutes, I had found that I enjoyed The Rocker.

Despite the fact that Fish is an archetypal slob for most of the film – and finds adjusting to a 9 to 5 job impossible – we realise that everyone deserves an opportunity to be their better selves and try to fulfil some of their dreams.

Fish is very unceremoniously and disloyally dumped by Vesuvius in 1986 so that a producer's nephew can be the group's drummer and they can hit the big time. Fish has almost opted out of life for 20 years when he loses yet another job and moves in with his sister. His nephew (largish with some low self-esteem) is going to play in a band for the school prom. There drummer is suspended at school and, guess what!

Josh Gad, Ted Geiger (an actual teenage singing star) and Emma Stone are the nice, clean-cut trio for whom Fish is culture shock. Rebel and hedonist Fish is a fish out of water in this rather sedate 2006 US town. The plot is wish- fulfilment but the twist comes courtesy of the exploitational side of the internet and instant celebrity. This development would not have been a surprise to the British director of the film who made that most popular of comedies, The Full Monty. It's not quite that here. Rather it is the almost-full Monty (Fish's only) which becomes the first step to America- wide success. Most aspiring bands will think, 'if only...'.

There is a pervading niceness about the film and many parents may be relieved to see teenagers portrayed so generally responsible and pleasant.

For those of a vindictive frame of mind, there is a wonderful on stage before thousands comeuppance for Vesuvius and a nicer Fish (with a haircut) has happily filled the void of the previous twenty years. And there are quite a few laughs as a bonus, especially in the send-up of the rock culture and venal agents. So, it's best to wait until the end before passing judgment.

1.A rock ‘n roll film? The music, fans, the bands, the history of rock ‘n roll, ambitions of the groups, individuals, the lifestyle, the success?

2.Dreams, fulfilment, gifts, opportunities?

3.The style of the comedy, the arrested development central character, the one-liners, the spoofs?

4.The music, the songs, the lyrics, Curtis and his composing the songs, based on the experience of his father’s leaving? The Vesuvius songs? Their popularity?

5.The cast, Rainn Wilson and his comedy, Teddy Geiger and his music? The comedians and supporting roles?

6.1986: Vesuvius, playing, their fans, rowdy, Fish and his energy, playing the drums? The success of their gig? His being out of the room, the manager doing a deal with the others, their momentary hesitation, the son of the producer to be the drummer? Fish being dropped? His reaction, the betrayal, upset, running beside the car, their driving, his on the top of the car, on the road and left?

7.The twenty years, his phone job, the fellow workers being fans of Vesuvius, his anger, their playing the music, being upset, losing his job?

8.Moving in with his sister, the family, his brother-in-law welcoming him? His nephew? Their not wanting him to impose? In the loft, accident-prone? His manner, the eternal adolescent, aged forty-one? Clothes, language?

9.Matt and the band, the auditions, the boy suspended from school? Fish being invited, refusing, accepting? His relationship with Matt, Curtis and Amelia? At the prom, their dressing up, his old-style clothes, arrival, taking over, playing, the initial response to the band, favourable? His going out of control? Their upset?

10.His playing again, change of heart, trying to make up to them, the offer for a gig, the range of phone calls and failure? Finally getting a gig? Their playing? The possibility of making a record? The group and their name ADD? People’s response? Not playing their record? The reaction of their parents? Their forbidding them to be with Fish? The rigging up of the computers? Practising together via computer? His nakedness, its being on YouTube?, everybody seeing it, the range of responses?

11.YouTube celebrity, the agent seeing the YouTube? clip, offering something more permanent, the range of performances, the curious audiences? The arranging of the tour, the bus driver, travelling across America, Fish and his reaction to the luxury of the bus? The discussions with the parents, whether to let their children go or not? Kim and her threats to Fish?

12.The personalities of Matt, Curtis and Amelia? Curtis and his songs, the background, the relationship between the two? Tentative? Amelia and her severity? Curtis shy? Matt and his thinking that he was not attractive?

13.The success of their concerts, the fans? The groupies? Fish and his noting for them the first of everything on their tour? The hotels, Fish and his raucous behaviour, throwing out the television? Going to jail? The youngsters preferring to play computer games? Their being bailed out? Kim and her anger, her decision to come on the tour?

14.David Marshall, the unctuous agent, insensitive, venal? An effective spoof on this kind of agent? His getting the gig for Vesuvius? His making mischief about Kim and Fish with Curtis?

15.Fish and his reaction, not wanting to play for Vesuvius? Talking with Stan, getting the haircut, the nine-to-five job, looking forlorn?

16.Curtis upset with him? Kim and her trying to help? The kiss and her controlling him? The misjudgement?

17.Curtis and the plea, Fish agreeing, meeting Vesuvius and his waiting for twenty years for this occasion, their fake English accents, their manner, rudeness to Fish and looking down on him? The contrast with Fish and where he was – and what he might have been had he stayed with them?

18.ADD performance, their success? Vesuvius and the accident, the discovery of their lip-synching, their being booed off the stage?

19.Matt, the girlfriend, Amelia encouraging him? Curtis and Amelia going out for a meal? Fish and his relationship with Kim? Everyone happy?

20.A fairytale 21st century USA?

DEVI

India, 1960, 93 minutes, Black and white.
Chhabi Biswas, Soumitra Chatterjee, Sharmila Tagor.
Directed by Satyajit Ray.

Devi was the sixth feature film by Satyajit Ray. He had already won many awards, especially the Golden Lion in Venice, for his previous films, especially the three which make up the Apu Trilogy. He was to continue making films until the mid-1990s, winning many awards especially in Berlin as well as in his native India.

Satyajit Ray is considered one of the world’s greatest directors. He worked in Bengal, centred on Kolkata, not in the Bollywood tradition but rather in the tradition of European films from an Indian perspective and style. This is very much the case with Devi.

The film focuses on a young woman (played by Sharmila Tagor who appeared in many of Ray’s films) who is the wife of a young man who has gone away to study in the city. He is interested in Christianity, sceptical about aspects of traditional Indian religion. She stays behind to look after her father-in-law and lives with her husband’s brother and sister-in-law and their little nephew. The father has a dream. He is a pious man and prays devoutly to the goddess Kali. In his dream he perceives that his daughter-in-law is the incarnation of Kali and immediately worships her. The girl is pressurised into believing that she is the goddess, especially when a child is healed. The husband comes home to plead with her but she is too fearful to leave. Pilgrimages increase and crowds come to see her. However, there is a doom-laden ending as Shiana is unable to save her nephew from death. Finally, she runs into the mists. The ending is open-ended as to what will happen to her.

1.A picture of India, the 19th century, the religious traditions? A critique?

2.The work of Satyajit Ray, in Bengal, in Kolkata? His style of Indian film-making, so different from the Bollywood tradition?

3.The striking black and white photography, locations, interiors, close-ups of people talking, faces? Religious shrines, pilgrimages? The Indian-style score?

4.Doya as the incarnation of Kali? The images during the credits, the religious masks, the statuary? The festivals, pilgrimages, prayer, healings? Piety and religion?

5.Faith in the traditional religion, in the gods, in their incarnations, healing powers? Intercessory prayer? The father’s commitment? His dreams? The possibility of delusions? Superstitions and manipulation? The contrast with scepticism from his daughter-in-law and from his son? The challenge to this kind of faith?

6.Uma and Doya? Their ages, Doya being seventeen, the marriage for four years, their not having any children? Their devotion to their nephew and his love for them? The focus on their love, the long conversation sequences? Insight into their characters? His study, planning for her to write the letters every day? The possibility of her leaving but her staying?

7.The portrait of Uma’s father, his age, wealth, the two sons, intending to leave his property to his older son? His time in prayer? His devotion to Kali? The dream and the visuals of the dream? Awake, the conviction, his believe that Doya was the incarnation of Kali, prostrating himself, his son prostrating himself?

8.The impact on Doya, did she believe that she was the incarnation of the goddess or not? Her bewildered? The men prostrate? Her garb, like a statue, icons, jewellery? The presents for the people coming to her, the beggar and his son, the healing? The effect on her life? Caring for her father-in-law? Her sister-in-law sceptical? Her husband and his antagonism? Uma’s return, his reaction?

9.Uma, scepticism, religion, toying with Christianity? His father demanding respect? Uma bluntly telling the truth? With Doya, trying to persuade her of the truth, that she was only human? Persuading her to leave? Her fears, the river and the boat, her unwillingness to leave? Uma going?

10.Doya as the goddess, possessed by her spirit, her responsibilities, the enormous number of pilgrims, the crowds, the requests for healing?

11.Her nephew, his illness, his mother’s concern, the father, bringing the boy to Doya, her taking the boy, the vigil in the night, the boy’s death?

12.The father and his disillusionment with the death of his grandson? Wondering about the sin he had committed? Uma and his condemnation of his father, killing the boy and killing Doya because of his manipulation of her?

13.Doya, the effect of the death, her jewels, bewilderment, with Uma, fleeing into the mist?

14.Issues of religion, authority, superstition, false religion? Manipulation and destruction? A critique of all religion, not just traditional Hinduism?

DEAN SPANLEY

New Zealand/UK, 2008, 103 minutes, Colour.
Jeremy Northam, Sam Neill, Bryan Brown, Peter O’ Toole, Judy Parfitt, Dudley Sutton.
Directed by Toa Fraser.

What a pleasant surprise. For those who like their films visually appealing and literate, intelligent and delightful, this will be a most satisfying entertainment. It is G-rated though it is not a children's film.

The screenplay is an imaginative expansion by Alan Sharp (Rob Roy) of a small novel of 1936 by . The book is principally conversations between the narrator of the novel and the Anglican dean who comes to dinner to discuss reincarnation.

Filmed principally in Britain in locations that recreate the Edwardian period in London and in the countryside (with some interiors and scenes filmed in New Zealand), the director is playwright, Toa Frazer, whose previous film, No 2, set in Auckland, acknowledged his Fijian heritage, while this film acknowledges his British ancestry.

Jeremy Northam is expert at playing genial British suave. It is 1904, his brother has been killed in the Boer War and his widowed father, typically tyrannical with the world revolving round him, lives alone though he has an extremely patient housekeeper (Judy Parfitt). His son visits him every Thursday.

They see an ad in the paper for a talk on reincarnation and go to listen. At this stage, one should say that the father is played by Peter O' Toole at his very best, amazing to listen to and a master class to watch. He has some wonderful lines delivered with unconsciously arrogant panache (especially when he wakes up at the end of the lecture and responds to 'Any questions?'). Father and son meet two characters at the talk, one a brash colonial who is a dealer, able to track down and negotiate whatever one needs. He is played (and spoken) by Bryan Brown as Bryan Brown, always a pleasure with his Aussie ironic humour and kindness.

The other is the rather humourless Dean Spanley, played straight by Sam Neill, especially when we and the others get to know him. He has more than a passing interest in reincarnation – which involves another life as a dog.

The conversations are interesting and entertaining and, when Peter O'Toole turns up for a meal and becomes involved in the Dean's story, the film becomes quite moving, especially in the father finally acknowledging that one son has died and the other has devoted himself to him.

No special effects, no action sequences, just a delight for ear and eye, for the emotions and for the mind.

1.An entertaining and literate film? Mentally stimulating? Intelligent? Humorous?

2.The original book, solely conversations? The screenwriter creating further story, characters, a dynamic about father and son relationships?

3.1904, the aftermath of the Boer War, Edwardian peace, homes and gardens, libraries, merchants and shops, meals, costume and décor? The musical score?

4.The photography, the focus on characters, dialogue, a dialogue-driven drama, visual compositions, atmosphere and period?

5.Henslow Fisk and his voice-over? In himself, his age, middle age, his lifestyle? His brother and the bonds from the past? His brother’s death (and this being visualised throughout the film)? His mother’s grief and death, his father and his lack of emotion, his harsh comments? Henslow’s bearing, clothes, his hat? The Thursday visits to his father, meeting with Mrs Brimley? The introduction to the characters and the situation?

6.The first visit, Mrs Brimley ironing the paper? Her comments about his irascible father? Meek in his father’s presence? His father being contrary and blunt, referring to him as Young Fisk? His lack of ability to express emotion? The issue of going out or not? Arguments? His new wheelchair? The decision to go to the lecture? Wrather and his assistance?

7.The theme of reincarnation, the advertisement in the paper, the introduction of the theme? The Indian setting in the UK, the emphasis on cricket? The host, the swami and his clothes, his lecture? Fisk asleep? Waking up and asking where he was? The further questions? Seeing Dean Spanley at the back? Wrather and his presence at the lecture?

8.The character of Wrather, Bryan Brown’s style, colonial, accent, humour, the irony? At the talk, his friendship with the Fisks, giving his card? His job as a provider?

9.The introduction to Dean Spanley? Religious, his formal clothes and collar? Quiet at the back? The questions? At the club, his drink? Tokay and Fisk’s reaction to it as syrup? The Hungarian background? Its being opened by royal decree …? The servant at the club? His kindness towards Fisk and asking about the death of his son, offering sympathy, Fisk’s harsh reaction? The dean’s own supply of tokay? The dean as prim, Sam Neill playing it straight? The later meeting with Fisk, the tree, pursuing the cat? Fisk and his comment about coincidence?

10.Henslow and his interest in the dean, his curiosity, the issue of reincarnation, offering the invitation, promising the tokay, going to the shops to buy it, going to Wrather, Wrather and his ability to supply the tokay? The issue of his father and Thursdays and not meeting his son?

11.The table conversations, the dean’s relish of the tokay, sniffing it, the anticipation? The meal, the dean loosening up, talking, explaining all his activities as a dog, his dog behaviour? The further meals, the tokay and Wrather supplying it – and Henslow playing pool with him, the discussions? The stories and their tying in with Fisk’s story of his dog Wag, his disappointment in its disappearance, not having another dog? His repeating the stories about Wag?

12.Wrather, the pool games, obtaining the tokay, his interest, wanting to come to a meal, the bet, his meeting the dean, the conversation during the meal, his blunt questions, his irony and using aphorisms with reference to dogs? His jokes? His paying up the money to Henslow for interrupting?

13.The invitation to Fisk to come to the meal, meeting the dean, listening to his dog talk, the fascination, his being moved by the episodes about the dog, his being Wag? The story of the dog’s friend, their going out together, his being shot (and the visualisation of the shepherd and the threats with the gun)? Fisk’s grief at hearing the story of Wag’s death, his being moved, weeping, with Mrs Brimley, his son’s photo? Calling his son Henslow?

14.The effect of the father and son bond, the past relationship, the change, emotion?

15.Mrs Brimley, her long support of the family, of Fisk? Cooking him hotpot and nothing else? Cooking the meal and planning it for the dean’s dinner? Her friendship with Henslow, her comments? The effect of Fisk’s weeping? Her dead husband and his silence, explaining the situation to his empty chair?

16.The dean, his disappearing after the dinners? His intimations that he had met Wrather – and the implication that this might have been the other dog in the days of Wag?

17.Reincarnation as a serious topic – or a whimsical ploy for exploring character?

18.The presentation of family relationships, the aftermath of the Victorian era? Edwardian England?