THE HITCH-HIKER

US, 1953, 71 minutes, Black and white.
Edmond O’ Brien, Frank Lovejoy, William Talman.
Directed by Ida Lupino.

The Hitch Hiker is one of five films directed by Ida Lupino between 1949 and 1953. They were small, low-budget, black and white dramas and melodramas.

This film focuses on a serial killer, a ruthless man who escapes from jail, murders hitch-hikers. The story focuses on two friends, played by Edmond O’ Brien and Frank Lovejoy, who give the hitch-hiker a lift. He then abducts them, going to Mexico. The film shows the interactions between the three men, ultimately their overcoming their captor.

William Talman is the killer, a sinister figure who on television played the adversary to Perry Mason in many of the television programs.

Other films by Ida Lupino include Not Wanted, Outrage, Hard Fast and Beautiful, The Bigamist.

1. The reputation of the film? Impact? Taut thriller? The direction of Ida Lupino?

2. Black and white photography, California, Mexico? Authentic locations? Musical score?

3. The title, the focus on the murders, their being visualised, the killer walking away? The personalities of the victims? The emerging portrait of the serial killer? The police and investigations? The media and the radio reports?

4. The focus on Roy and Gilbert, their going away for the weekend, change of destination? The killer using this to taunt them about secrecy from their wives? Their personalities, their friendship, the car? Together, the conversations, the different characters?

5. The killer, his personality, in jail, ruthless, wanting to get to Mexico? Hitch-hiking, abducting the two?

6. The confrontations between Roy and Gilbert and the killer? Finding out more about him, the radio, trying to disguise the radio information? His needing them? Across the border, the police? Camping out, Roy and his angers, attempts to thwart the killer? Gilbert and his being more calm? Their backgrounds, their work, physical strength, psychological ingenuity? The build-up to Mexico, walking, in the town? The final confrontation, the police, the overpowering of the killer?

7. The killer, his tormenting the two, his one eye, open, not sleeping? Thwarting their attempts? The psychological intimidation? The physical encounters? The desert, the cars passing? Walking to the town, his being sure of success, his being overpowered, taken away?

8. The portrait of the police, Americans, Mexicans, the collaboration? The various pieces of information – from the men who sold goods to the three, the car?

9. The law enforcement, the media, the resolution of the case? The kind of material that would be now presented in a one-hour episode of a series? A B-budget film of the time?

VANISHING POINT

US, 1997, 92 minutes, Colour.
Viggo Mortensen, Christine Elise, Steve Railsback.
Directed by Charles Robert Carner.

Vanishing Point is a telemovie remake of the 90s of the 1971, almost classic, Vanishing Point directed by Richard C. Serafian.

In its time, the 1971 version was a mechanised version of the Easy Rider themes. The central character, played by Barry Newman, delivered cars – but had to drive and break through police barriers. However, he also took an opportunity to reflect on his life and the meaning of the world? The plot has been updated. This time the hero is a former army ranger. His wife goes into labour and he is over a thousand miles away. He has to get home. Pursued and confronted by the police, he takes time off in an Indian reservation to reflect on the meaning of his life. He then goes back and confronts the police again.

The film focuses very strongly on the car and its make, its capacity for speed. The film also focuses on moral issues as well as a meaning of life – in the context of the 1970s and the impending beginning of the 21st century.

The film was directed by Charles Robert Carner who directed a number of films for television including Red Water, Who Killed the Children, Judas.

1. The popularity of the original film? Many seeing it as a classic? The transition from the 60s to the 70s? Vehicles, the road movie? The meaning of life? The value of a remake in the 90s?

2. The transposition of the plot and characters from the 70s to the 90s? How similar the issues? The basic issues – with the different surface?

3. The location photography, the state of Utah, the mountains, the desert, the Indian reservation? The importance of the open road?

4. The film as road movie? The focus on the car and its potential? Seeing the car in action, speed, energy? Radio contacts? The car on the open road?

5. The quality of legend and myth about James Kowalski? In himself, the army background, the ranger, the concern for his wife, speeding through the state, the confrontation with authorities, the background of the Indian reservation?

6. The religious dimension of the film, the setting of Holy Week, the Passion of Jesus, moving towards Easter and Resurrection?

7. The situation, the character of Kowalski, the establishing of the character with his past, the army? His job, the car, no plane, the news about his wife, the troubled labour, his decisions? The police harassment? The justification of the police’s attitude towards him? His decision to run them? The airport?

8. Kowalski behind the wheel, an easy rider – easy driver? The roads, his skill in driving, the potential of the car, buying the radio? The different types that he encountered, the shop, the girl in the desert, the mechanic? His encounter with the Indians?

9. His going on the radio, the dialogue with the people who called in, the exploration of situations, the truth?

10. The counter-religious influence? Christianity and the Indian religions? The Indians, the rituals?

11. The importance of the flashbacks, the meeting of husband and wife, their love for each other, the baptism? The pregnancy, the birth? The phone calls?

12. Sergeant Preston, his role in connection with Kowalski, representing the police?

13. The FBI, the assistant, the sheriff? Their decisions about Kowalski, pursuit?

14. The phone call, death, the baby? Audience response to the wife, the pregnancy, the birth, the baby?

15. Kowalski and survival? Adding to the legend?

16. A piece of Americana, the 1990s, the role of the individual and individualism, technology and communication, authorities and government?

THE TROUBLE WITH ANGELS

US, 1966, 112 minutes, Colour.
Rosalind Russell, Hayley Mills, June Harding, Binnie Barnes, Camilla Sparv, Mary Wicks, Marge Redmond.
Directed by Ida Lupino.

This film definitely belongs to the 1960s. However, enough time has passed for it not to seem too much out of date. In fact, it is a bright and breezy entertainment for now. If an audience wants to get some taste of what religious orders and Catholic education were like in those transition years of the 1960s, it is worth seeing. It was a star vehicle for Hayley Mills as a strong-minded schoolgirl and Rosalind Russell as the stern, kind but often exasperated superior. It also throws some light on why young people decided to become nuns in those days.

The sequel, where Angels Go Trouble Follows, showed more of the changes in the church and convent life with Stella Stevens an unlikely star for an up-to-date sister. The film ends with Mother Superior, Rosalind Russell, changing into the modified habit.

1. The popularity of the film at the time? Comedy? Religion?

2. The atmosphere of the mid-60s? The changes in the Catholic church? The changes in convent life? Changes in girls’ boarding schools? The spirit of the times, the troublesome teenagers, the role of the nuns?

3. The school, the old private school, the building wearing down? The interiors, dormitories, boiler rooms, refectories? Authentic atmosphere of a boarding school? The musical score and songs?

4. The focus on the two girls, Mary and Rachel, the train ride, the change of names, Mary in charge, Rachel as a follower? At school, always getting into trouble, playing pranks, the sugar in the bubble bath, the cigars? The pranks over the years? Their always being in trouble? Rachel and her doing whatever Mary suggested? Their characters, Mary as strong-minded, her uncle and his visits (and her seeing his ‘secretaries’)? Rachel and her parents, living up to expectations? The classes, the outings, the religious dimension? The interaction with the various sisters? With the mother superior, her reprimands, her appearing at the wrong moments? Mary and taking the girls on paid tours of the convent while the sisters were in chapel? The superior locking them in? The high-spirited children? The frustration of Mother Superior? The changes over the years, the build-up to the band playing in competition, the practices and the terrible music? The issue of the uniforms, the short skirts (and Mother Superior saying the other schools were French)? The pressure on the benefactor to provide the uniforms? The success of the band? Money for the boiler – and the various jokes about the boiler giving out?

5. Rosalind Russell as Mother Superior, her age and experience, her later revelation about her life, as a dressmaker, in Paris? Her decision to enter the convent? Her role with the community, the variety of sisters, her friend and her death? Managing the school, looking forward to the children, her continual exasperation with Mary and Rachel? The talks with each of them? Explaining to Rachel that she was a follower? Locking the girls after the tour of the convent? The issue of the uniforms for the band-playing? Her charm with the benefactors? Life in the community? Her helping Rachel with the dress, sewing, the achievement, up all night?

6. The other sisters, Sister Constance, young, the girls thinking she was leaving the convent, her going to the Philippines as a missionary? Sister Clarissa, physical ed (and Mary Wickes’s style)? The various other sisters – the introduction to them all in the dining room when the girls arrived? Life in the convent?

7. The end of the year, the graduation, the announcement that two of the girls would be staying to join the sisters, the fact that Mary Clancy was staying? Rachel and her being upset, not speaking to Mary? Was it credible that Mary would decide to stay? Mother Superior’s explanation of the kind of girl that was needed to join the convent, strong-spirited, an independence and thinking for herself? Rachel and the final reconciliation at the station?

8. The popularity of this kind of portrait of girls at school, life at school?

9. A portrait of nuns – the film tradition of nuns, Ingrid Bergman and The Bells of St Mary’s etc? This film following in its steps? Yet the changes in the mentality of the 1960s? Looking back, how does it seem in retrospect, in view of the changes in convent life and Catholic education over the last decades of the 20th century?

THE PALLBEARER

US, 1996, 98 minutes, Colour.
David Schwimmer, Gwyneth Paltrow, Barbara Hershey, Toni Collette, Michael Rappaport, Carol Kane, Michael Vartan, Bitty Schram, Elizabeth Franz.
Directed by Matthew Reeves.

An interesting idea: an awkward young man is mistakenly thought to be the best friend of a suicide and he hasn't the heart to tell the truth - and complications follow. What might have been an entertaining New York comedy (akin to Brothers McMullen?, She's the One) is hobbled by a screenplay that could be sharper and wittier and the performance of David Schwimmer (during the early years of Friends) who comes across too often as a slack-jawed drip. Gwyneth Paltrow is nice and Toni Collette (American accent perfect) is seen too little. Barbara Hershey seems in another film as the suicide's mother trying to offer some depth (as well as a touch of the Mrs Robinsons).

1. Light comedy? Black comedy touches? A satisfying combination?

2. New York settings, Brooklyn, Long Island? Authentic atmosphere? Musical score – the range of songs, especially from Dolly Parton, the relevance of the lyrics to the action?

3. The title, indication of theme? The opening with the dead man in the car, his mother discovering him? Her reaction, finding the names, getting in contact with Tom, asking him to come to the funeral, to be a pallbearer? His bewilderment? Setting the scene?

4. David Schwimmer as Tom, living with his mother, nerdish, his interview about his employment, architecture? His being a passive aggressive – especially in being demanding from his friends? His meeting Brad and Scott? Wanting Scott’s suit? Insistent? The discussion about the funeral? Their not remembering the dead man? Their bonding? The party, Tom wanting Scott’s shirt and getting it? His being in love with Julie, her arrival at the party, his wanting to make a good impression? His relationship with Brad and Lauren, criticisms of Lauren? With Cynthia and Scott? Scott as his best friend? Cynthia and her concern for him? The party, discussions with Julie, her mistaking him? The aftermath? His relationship with his mother, her eccentricity, interference, his shouting at her on the phone, her entering into his room, her behaviour when Julie came? His finally moving out and her tantrum?

5. The decision to go to the funeral, everybody else going? Dressed up? In the church? His being at the front, the awkwardness of his eulogy – and having tried to compose it with his friends? The friends having the giggles? Julie and her going to the coffin, weeping, serious? Her criticising them at the end? His going with the coffin to her, the reaction of the pallbearers? Of the relatives? The bewilderment of the priest?

6. Barbara Hershey as Ruth Abernathy? The blonde style? The dresses? The impression of a Mrs Robinson? Her attitudes towards Tom? Gratitude, her grief for her son, the sexual encounter and the aftermath? His helping her with Tom’s possessions? The gift of the car? Tom and his embarrassment? Ruth and her hold over him, the phone calls, her jealousy of Julie, the scene at Julie’s birthday party in the restaurant? His sending the necklace, her anger at receiving it in the post? The poem? (Brad’s advice?) His seeing her afterwards, his telling her the truth, her mellowing? His bringing the real Tom who was the friend? The aftermath for Mrs Abernathy? The effect of this relationship on Tom?

7. Tom, his listening to Julie, her insecurities, going out with her, enjoying her company? His taking of the car, driving her to the concert, its breaking down? His seeing Scott kiss her? Listening to Julie’s reaction? His condemnation of Scott? Going to Brad’s stag party, his being uncomfortable, telling Brad the truth, not being the best man? Going to Julie’s birthday party, her father and his rude reaction? His trying to speak for Julie? Ruth’s interruption and Julie’s departure? At the wedding, his gift of the car, the invitation to dance? His love for Julie?

8. Julie, the glamour, the reputation? The reality, her insecurity, her friendship with Cynthia? At the party, going to the funeral, her grief for the dead man? Meeting with Tom, the cup of coffee, the awkwardness of the outing and Scott putting his foot in it, especially about Tom living with his mother? The continued meetings, her confiding in Tom about Scott’s kiss? Inviting him to the birthday party, her reaction to the intervention by Ruth? The car, her dancing with him? A future?

9. Scott, his relationship with Cynthia, the roving eye, friendship with Tom? His attention to Julie, the kiss in the bookshop? His being the best man, the clash with Tom? The reconciliation? His reconciliation with Cynthia? Cynthia, commonsensed, her advice to Tom, helping Julie? At the funeral? The separation, the reconciliation and the wedding? Brad, his talking on the phone to Japan, his brashness, his relationship with Lauren, Lauren and her moodiness, her scenes? The criticisms by Scott and Tom? The wedding, the reception, the reconciliation?

10. The background characters, Tom and his work, the interview? The relations at the funeral? Aunt Lucille and her comments? The pallbearers?

11. The comic touches, the romantic touches, the serious touches, the black comedy touches?

WOMEN TALKING DIRTY

UK, 1999, 98 minutes, Colour.
Helena Bonham Carter, Gina Mc Kee, Eileen Atkins, Kenneth Cranham, James Nesbitt, James Purefoy, Richard Wilson, Freddie Highmore.
Directed by Coky Giedroyc.

Women Talking Dirty is based on a novel by Isla Dewar who wrote the screenplay for the film. It begins with a touch of brazenness, women talking dirty, but gradually transforms into a film about women’s friendship, women and their relationship with men, love and betrayal, friendship.

The film is set in Edinburgh, a very Scottish touch with the actresses and their accents.

Helena Bonham Carter portrays Cora, an immature young girl, ready to face the world, but not really grown up. She has to children by different fathers including, without her realising it, the husband of her best friend, Gina McKee?. Gina McKee? is Ellen, a cartoonist, who is more repressed, but focuses on her love for Daniel, James Purefoy. She completely misreads him.

There are some character cameos from friends, a gay couple, Kenneth Cranham and Richard Wilson, and Eileen Atkins as a grande dame of music and culture. James Nesbitt is Ellen’s co-worker. Freddie Highmore who appeared later in Finding Neverland and Charlie and the Chocolate Factory portrays one of Helena Bonham Carter’s sons (and his younger brother the other son).

The film is blunt at times in its dialogue, makes one wonder how real these characters are – but, as symbols of contemporary life, people struggling to make sense of their life, love and betrayal, it is at times quite insightful, especially with the strong performance from Gina McKee?.

1. The impact of the title? Fulfilled? Women talking dirty? Women talking true feelings? Women talking depth?

2. The Edinburgh settings, the use of the city, the streets and the scenic value? The coast and the beaches? Buildings, homes, workplaces? Authentic atmosphere? Musical score (by Elton John)?

3. The initial focus on Cora and Ellen, their talk, bonding, their love for each other? The going back six years? The coming back eventually to the present? The prelude to the clash?

4. Cora’s story, young, irresponsible, her loving parents, going off to Edinburgh, her relationships, her parents’ warnings, with Claude? Flirting, together, her pregnancy and her parents’ reactions? Claude and his exasperation and leaving? The meeting with Ellen, Ellen sketching her? Their becoming friends? Her reliance on Ellen, her giving birth, delight in the child? Her bringing up the child, hanging out the washing, hard work? Her parents’ help, her living in Edinburgh, Ellen’s continued help? The chance meeting with Daniel, his lying about his name? Their night together? Hurrying home so her mother would not find out? Her pregnancy? Her meeting Daniel with Ellen and her shock, talking with him afterwards? Her keeping the secret, should she have revealed it to Ellen? Her friends, the discussions with Emily Boyle and Emily’s support? The years passing, the birth of the second child? Her friendship with George and Ronald and their helping out? Her continued friendship with Stanley, platonic? The build-up to the evening party, her seeing Daniel in the street, confronting him? The party and the preparations, Emily and her finesse? The guests, talking, laughing? Drunk and telling the truth? The emergence of the truth about Daniel and the child? Ellen’s dismay, ordering them all out? Cora and her being upset? Her approach to Ellen, calling out, apologising? The bond and the friendship again? Her punching Daniel, Daniel coming for the sofa? Ellen and Cora and their walk along the beach? The reconciliation – and the permanence of friendship? Ellen and her care for the children?

5. Gina Mc Kee’s presence as Ellen, her background, sketches and designs? Working with Stanley and their friendship? Chance meeting with Cora and sketching her? Their becoming best friends, sharing, beach visits, Ellen and the presence at the birth? Her meeting Daniel, his charm, his spiel? Going home with him, the marriage, the gift of the sofa? Finding him taking money, his betting? His promiscuity, talking about giving himself completely to her when he was with her? His expectations? The clash with Ellen, his going to Barbados? His return, the confrontation with Cora? The divorce and its effect on Ellen? His visit, the arguments? The night together? His coming to take the sofa? This being a symbol of the break between the two? The dinner party, the happiness, the drinking, friendship, the truth, her being upset? Her having wanted a child? Her being more repressed? The reconciliation with Cora? A future?

6. Daniel, his spiel to Ellen about the drinks, charm, her succumbing, her idealising him, the marriage, the gift of the sofa, his promises? The true Daniel, taking the money, gambling, losing money? His double-dealing, his lies to Cora, Cora’s pregnancy and his reaction, to get an abortion? Cora punching him? His leaving the country, the return, the divorce? Cora seeing him in the street? His coming to see Ellen, the night with her, her kicking him out? His taking the sofa? Ellen taking his money, giving half to Cora, gambling the other half?

7. Ronald and George, their manner, their friendship, helping out? The dinner, the story of their relationship? Emily Boyle, her sympathy for Cora, listening to her, giving her good advice? The meal? Her observations on everyone?

8. The background characters, life in Edinburgh? An authentic feel?

9. Stanley, his work with Ellen, friendship with her, admiration for Cora, in love with Cora? His continued support?

10. Insight into women’s psychology, woman writer, woman director? The performances of the actresses? And the attitude towards men?

VAMPIRA

UK, 1974, 88 minutes, Colour.
David Niven, Teresa Graves, Peter Bayliss, Jennie Linden, Nicky Henson, Linda Hayden, Bernard Bresslaw, Freddie Jones.
Directed by Clive Donner.

Vampira is a spoof on horror films. At the same time there was the George Hamilton spoof, Love at First Bite.

Dracula needs a blood transfusion for his wife – and she receives Playboy Bunny transfusions turning her into a glamorous black Playboy model, Teresa Graves. He has to go to London to look for white cells.

This film seems, in outline, quite politically incorrect – but is a spoof on the horror films as well as attitudes of racism.

The short running time means that it is a small film – and was also called Old Drac.

The film was written by actor Jeremy Lloyd who also wrote a number of television series like Are You Being Served and ‘Allo, ‘Allo. It was directed by Clive Donner who made interesting films in the 1960s like The Caretaker, Nothing But The Best, Here We Go Round the Mulberry Bush, Alfred the Great. In his later career, he moved to the United States and made a number of remakes of popular films including A Christmas Carol.

1. An enjoyable comedy? How much was burlesque, how much parody? The purpose for the film? Humorous exploitation of horror films? How valid, how successful?

2. What incidental insight into horror films and audience response does a comedy like this give? How do jokes about a topic give insight?

3. How did the film work with its colour, music, the garish picture of modern society, suspense, wit and puns? Did they give a particular tone to the film? Add to the parody and the farce?

4. How attractive was David Niven as Dracula? A typical David Niven performance? Setting a tone for the whole proceedings?

5. The racist comments on the film? The fact that Vampira becomes black? The fact that Dracula became black at the end?

6. How enjoyable the presentation of modern Transylvania? Dracula’s modern problems? Tourism? Maltravers as his assistant, typical English butler, the style adding to the film? The making of Dracula a typical English lord? The details of the tourism, gimmicks for entertaining visitors, social comment?

7. The Playboy atmosphere? The use of horror and sex and parody? The personalities involved, especially Pottinger? Their response to Transylvania? The normal audience response?

8. How enjoyable was Dracula’s problem for getting blood for Vampira? The use of modern science and its association with Dracula’s blood transfusions? The ordinary blood, sucking devices of horror films and the modern tone?

9. How attractive was Vampira? Her living in the 20s and discovering the 70s?

10. How enjoyable were the London adventures? Dracula’s walk by night and difficulty in getting home, the house, flying? Vampira’s response to jet-set London?

11. Were Mark and Angela an interesting hero and heroine? Conventional? Their ordinariness in the middle of a vampire parody?

12. The use of the convention of mind control for humour? Advancing the plot? The complications for Mark and for Dracula? Vampira’s relating to Mark, yet his problems? Some suspense for the plot?

13. How well did the film use conventions of suspense for the climax? Any doubt as to the outcome? Rescue of heroine by hero?

14. The irony of the ending with the black Dracula?

15. How does a study of satire comedy give insight into human response to genres?

THE REAL HOWARD SPITZ

Canada, 1998, 102 minutes, Colour.
Kelsey Grammer, Amanda Donohoe, Genevieve Tessier, Joseph Rutten, Patrick Mc Kenna, Kay Tremblay.
Directed by Vadim Jean.

The Real Howard Spitz is an eccentrically delightful film. It was directed by Vadim Jean who directed a number of films in England including Leon the Pig Farmer and Clockwork Mice and who adapted Terry Pratchett’s Hogfather for the screen.

The film was also a tour-de-force for Kelsey Grammer. Familiar to audiences mainly from Cheers and Frasier, Grammer also had a film career including X Men 3. Here he does a variation on his Frasier character, a curmudgeon type, a writer of pot-boiling detective stories who is persuaded to write a children’s story even though he loathes children. He is forced then to go on the circuit but decides to have a stand-in impersonating him. Finally, he has to admit he is the real Howard Spitz. The cause of this is a young girl he meets in a library who comments on books, to whom he gives his manuscripts for comment, who wants him to act as a private detective to find her absent father. Needless to say, he softens (somewhat) and builds an affection for the little girl and for her mother. The little girl is played by Genevieve Tessier and the mother by Amanda Donohoe. There is very amusing support from Joseph Rutten as his put-upon agent of many years as well as from Patrick McKenna? as the actor stand-in who gets tongue-tied at first but then who can’t control himself pretending to be Howard Spitz. The elderly actress, Kay Tremblay, is quite funny as the seemingly very prim writer of popular children’s stories who has her herbal tea spiked and performs with bad language, at least, on a morning television show.

The film is interesting in the way that it builds the relationship between the cranky Howard Spitz and the little girl and how it softens it and makes him more humane.

1. An entertainingly offbeat comedy? Serious dimensions? A nice blend?

2. The American settings, the city, east coast, west coast? Authentic atmosphere? Musical score?

3. The presence of Kelsey Grammer, audiences familiar with him from Cheers and Frasier? The humorous reference at the end about writing sitcoms and his allusions to both of these series?

4. Howard Spitz, the credits, his writing the pot-boiler, writer’s block, listening to the sounds around him, getting ideas, finishing the book? Taking it to Lou? Their meeting in a rundown café (with the continued carping of the waitress)? The discussion about people not wanting the book? Lou and his paying for the meal, his sending manuscripts without paying postage? His pessimism? Howard and his desperation, the messages from his wife for alimony, his being in debt, his gambling and losing?

5. The shop, seeing Theodora Winkel and her selling the books and the book-signing? The discussions with her? The money and the translations? His decision to research the books? To write a book? The idea of the cow as a detective? Lou advising that he needs to do the illustrations as well? His drawings? Going to the library, meeting Sam, the discussions with the children, why they liked books? His eating his lunch, the reaction of the librarian and ousting him after he swore?

6. The success of the book? The contract? His writing more? His meeting Sam, asking her to read the manuscript, her comments? The deal – and her questioning him, about being a private detective? Her wanting him to find her father?

7. His reaction about searching for the father, going to see her mother, the mother pulling the gun? His meeting her in the supermarket – and making a mess with the stacking and hitting people on the head? Sardonic remarks about suing? Laura and her explanation about her husband? Howard and his getting his friend from the police to find out the address? Laura wanting him to talk to Sam? The discussions, the possibilities of not finding her father, that he wouldn’t want to see her? Finally giving her the address? Her writing the letter? No answer – and his writing the letter and her seeing through it?

8. The success of the books, the contract, the tours and the book-signings? His auditioning the actors? His deciding to take on Roger? Roger and his being tongue-tied, not able to answer the questions? The swearing on air? The children and their questions about the cow? Roger and the various book-signings, interviews, his learning to improvise, his branching out, getting enthusiastic – even believing he was Howard Spitz? The final with the award? His effusive speech, Howard going up, the compere and testing who was the real Howard Spitz? The answer about questions in the book? Sam and her going up and proving that Howard was his authentic self?

9. The relationship between Howard and Laura, enjoying one another’s company, at the restaurant, his getting the steak tartare and making the hamburger for the horrified waiter? Being together, at the studio? Going to her shop, the flowers and nature – and his abhorrence of nature?

10. The awards, going to Los Angeles, Sam wanting to go, his being persuaded? Paying for the tickets? Including Lou? Enjoying Los Angeles? The dinner? The importance of Sam looking for her father?

11. Howard and his meeting the father, the father and his new family, not wanting anything to do with them? Sam overhearing it and her grief? At the awards ceremony, her looking at Howard, his decision to tell the truth, her verifying who he was?

12. Lou and Howard, overhearing the discussion about writing sitcoms? His decision to write sitcoms? His future with Laura and Sam? His truth about children giving him the willies – but his trying his best and offering to be a substitute father for Sam?

GREENMAIL

US, 2002, 92 minutes, Colour.
Stephen Baldwin, Tom Skerritt, Kelly Rowan, D.B. Sweeney.
Directed by Jonathan Heap.

Greenmail is a film about eco-terrorism. It is set in Washington State around Seattle. There are explosions and murders – with a fanatic campaigner for the environment taking the law into his own hands, trying to destroy enemies and make witness to the world. He is played by D.B. Sweeney.

Stephen Baldwin stars as a one-time terrorist who killed people accidentally and who has campaigned to do peaceful but telling protests against destruction of the environment. Tom Skerritt plays the officer who tracked him down fifteen years earlier and who still wants to get him. He blames him for an attack and explosions in a factory. Kelly Rowan is the agent, brought from Washington, very skilful in understanding bombs and defusing them and who solves the case.

The film is an action show, is interesting in its portrayal of police methods, generates an amount of tension. The message is clear – protest against those who spoil the environment but not fanaticism and taking the law into one’s own hands.

1. Popular action thriller? Police investigation? Terrorist thriller?

2. The Seattle settings? The factories? Precincts? Offices? Authentic atmosphere? Musical score?

3. The title, eco-terrorism? The messages from Jeremy?

4. The opening: the sampling of the water for environmental impurities? The invasion of the plant? The bombs going off? The security pursuit? The confrontation of Alison? Her death? Scott and Jeremy and their running away? The aftermath and the revenge by Jeremy?

5. Jeremy, his intelligence, background? Fanaticism? Joining the action group? His skill in making bombs? Hiding out on the boat, the job, not being able to hold down a job? Michael helping him? The contact with Scott? His growing fanaticism? The murders of the lawyer, the executive? The hiding out, being found out, his escape? Confrontations? The planting of the bombs at the ski resort? Going on the gondola? The clashes with Scott? His expressing his beliefs, destruction in order that there might be a new world? The fight, his falling from the gondola, his death?

6. Scott, his past, Bradshaw against him? His movement, publicising abuses of the environment? His being on the mission, at Alison’s death? His being arrested by Bradshaw? Ashley Pryor and her interrogation? His helping, covering for Jeremy, phoning him, meeting him in the car? Hearing his views? His decision to help the group? His presence at the explosion of the car, the lawyer being saved? His friendship with Ashley, the clashes with Bradshaw? The build-up to the investigation at the ski resort? Finding Jeremy, on the gondola, the fight, unable to save Jeremy? Climbing to the roof? Following Ashley’s advice, defusing the bombs? A future? The relationship with Ashley?

7. Bradshaw, his expertise, age, retirement? His reliance on Ashley, training her? Fifteen years and his wanting to get Scott? The interrogations, his having to bow to Ashley’s opinion? His participation in the investigations? The set-up in the office, the detonation, on the phone with Ashley, defusing the bomb? Getting the assistant to go? The further bomb and his death?

8. Ashley Pryor, her expertise, Washington, trained by Bradshaw? Wanting to be on holidays, taking on the case? Interviewing Scott? Her believing him? The messages, her skill in defusing bombs? The death of the industrialist, the visit to the house? The visit to the couple – and just leaving before the explosion? Her being at the car with the lawyer, detonating the bomb – and its dummy? Realising the phone would set off another bomb, saving the lawyer? The discussions with Bradshaw, the discussions with Scott? Going to the resort, giving the advice for the defusing of the bomb? Her future – and the job, giving the information to Scott to take to the lawyers?

9. The groups in defusing bombs, the dangers of the job, their skills? Security?

10. Eco-terrorism – and the ruthlessness and fanaticism? The need for measured protests against the spoiling of the environment? Legal means?

DARATT

Chad, 2006, 96 minutes, Colour.
Directed by Mahamat- Saleh Haroun.

Films from Chad are very rare. Director Mahamat -Saleh Haroun was born there in 1960. He studied at film school in Paris and journalism in Bordeaux. His first film, Bye Bye Africa was made in 1999 and won the Best First Film prize at Venice that year. His second film, Abuna, is a very moving film about children, family relationships and absent fathers. It screened in the Directors’ Fortnight at Cannes in 2002. Darat is his third film. It won the Jury Prize in Venice in 2006 as well as many other side bar prizes for social justice. It received a commendation from the Signis jury.

The setting is Chad at the end of a forty-years period of civil war. An amnesty is declared. A young man is urged by his grandfather to go to the city to avenge the death of his father, killed during the civil war. When he meets the man responsible for his father’s death, he hesitates, sees him distribute bread to poor children.

The young man stays, works as a baker for the killer, sees him treat his wife badly, yet seems to be a good man in terms of Muslim expectations. Ultimately, he takes the man back to his grandfather (who is blind) and pretends that he has shot him.

The film uses local locations quite strikingly. The audience feels that it has been in Chad. The performers are very good, again making audiences believe in the motivations, the ambiguities of their lives. The theme of justice, retribution and forgiveness and reconciliation come across very powerfully.

1. A film from Chad? Chad’s perspective on Africa, democracy, civil war, justice, reconciliation?

2. The production values, Chad not having a film industry? European support?

3. The title, the dry season, the desert, the symbolic title? The range of locations, the desert itself, the dust roads, the towns, the more modern parts of the city? The musical score?

4. A simple story, focused, measured pace, reflective?

5. Atim and his grandfather, the bonds between the two, the radio announcements about the justice commission, their getting the radio, sitting and listening, the announcement of the amnesty, their anger? Atim and his being given a mission to avenge his dead father? His grandfather giving him the gun? Travelling on the roads, his presuppositions about his enemy? The reality, change, the final gesture being the opposite of what was expected?

6. His getting the lift on the road, in the back of the van, his staring at the soldier with hatred? The soldier pulling his gun – and the later irony of Atim seeing him at the hotel, the confrontation? His bizarre attitude, drunken dancing? Atim being beaten for urinating against the wall, his later beating the soldier on the bridge?

7. Massou, genial, rescuing Atim from the soldiers, friendship, taking him home, pretending he was an American, playing together, Atim’s surly attitude, understanding each other, the friendship? The manoeuvres for stealing the fluorescent lights and bulbs? The getting the money, Atim deciding to break, refusing the money?

8. Atim finding Nassari, Nassari giving out the bread to the poor children, going to the mosque, his wife and her pregnancy? His having the gun, spitting out the bread at Nassari, Nassari offering him work?

9. Nassari in himself, age, hard, his wife and her pregnancy, the arranged marriage, his beating her for his thinking she was flirting with Atim? Giving out the bread to the poor? His reaction to Atim spitting out the bread? Offering him work? His experiencing the hostility in Atim’s eyes? The work in the bakery, Atim forgetting the yeast, packing the bread? Attacking the truck of the rival? A growing bond with Atim, trying to get him to go to the mosque? His bad back, Atim massaging, the supportive belt and the guns in the cupboard? His wanting to adopt him? Wanting to know who his father was? His feeling abandoned by God, drinking? Saying that Atim made him feel alive?

10. The sketch of the wife, the arranged marriage, her youth, baby, playing with Atim, being beaten, the flour incident?

11. Atim, the opportunities to kill Nassari, his imagining it? His work in the bakery, forgetting the yeast, the satisfaction in baking bread by himself? Giving it to the poor? His coming to live in the house, the continued hostility? Walking the city, the river? Going to the hotel and the bar, seeing the soldier, confronting him, bashing the soldier on the bridge, seeing the legless soldier walk past, firing the shots? His possibilities for killing Nassari, the disappearance of his gun, finding Nassari’s guns? His response to the issue of adoption? Decision to go?

12. Nassari driving him, the grandfather hearing his arrival, wanting vengeance, stripping Nassari, Atim and the shots, his grandfather asking whether he had a steady hand? The blind grandfather not seeing him save Nassari and shoot into the air?

13. Issues of redemption, for Nassari as he prayed, admitting he had done terrible things in his life, feeling the loss of God, finding Atim? Atim and his not shooting, not taking revenge?

14. A message for Africa, African nations, revenge, civil wars? A message for Muslim countries and forgiveness?

THE US VERSUS JOHN LENNON

US, 2006, 95 minutes, Colour.
Directed by David Leaf and John Scheinfeld.

It is already more than a quarter of a century since the assassination of John Lennon in 1980. It is almost forty years since the Beatles broke up. In a way, this is a film about rather distant American history. Nevertheless, it is continually fascinating. And the film-makers imply the comparisons between the escalation of the Vietnam War and the war in Iraq. Only veteran commentator, Gore Vidal, actually makes this explicit.

This is a documentary that works on many levels. It offers a portrait of Lennon himself, touching on his years as a Beatle (the enormous popularity as well as the controversy about the comparisons with Jesus and the rampaging burning of Beatles’ records in the US) but spending most of the running time on his life with Yoko Ono and his activities in the Peace Movement.

It also offers an album of Lennon’s songs, post-Beatles, highlighting the power of the lyrics and their relevance to his own life, to the issues and to causes at the time, not just Imagine and Give Peace a Chance, but many others. (For those who want a powerful portrait of Lennon and his music, try the 1988 documentary, Imagine.)

The film offers a social history of the US in the late 1960s, early 1970s. It fills in the political background of Lyndon Johnson’s escalation of the war, his not contesting the 1968 election, the conventions of that year and the attendant violence as well as the assassinations of Martin Luther King and Robert Kennedy, the emergence of Richard Nixon and his conduct of the war as well as his lying and downfall. John Lennon seems to have found something of his spiritual home in the US as well as causes which his rather rebellious nature believed in. He associated with the protest leaders of the time, including Bobby Seale. He saw his music become a rallying anthem for the peace movement.

While he was already under suspicion for his Jesus statements – which we see him put in the context of public acknowledgment of the Beatles, not of denigrating Jesus or Christianity – J, Edgar Hoover began to take greater interest in him, keep files and consider him a danger (as did Richard Nixon). His application for a green card was in the courts for years and successful only after Nixon’s disgrace. Lennon’s muse and collaborator was Yoko Ono (who collaborated with this film). The film highlights how their behaviour at the time, the famous bed-ins dismissed as stunts, was really performance art with social message.

The film draws on a rich array of commentators including Bobby Seale and Angela Davis, as well as many politicians and former FBI agents. The film is insightful even as it takes a strongly partisan view of its subject. One cannot but be moved as the film moves inexorably towards Lennon’s death at the age of 40. It makes a case for his being one of the influential personalities of the 20th century.

1. Audience knowledge of and response to John Lennon as a Beatle, as a solo musician and songwriter, as linked with Yoko Ono, as a peace demonstrator, as political in the United States, assassinated? As time passes, how different does this make the impact of the film? On the range of age audiences?

2. John Lennon’s stature, in the 1960s and 1970s, a symbol of the 60s, a proponent of peace, the context of the Vietnam War, of President Nixon, of J. Edgar Hoover and the FBI, of the Immigration Department?

3. The use of his songs for themes of the film, Lennon’s own songs, the wide range of songs used, the explicit context of the lyrics, the images corresponding to the lyrics? Especially the use of ‘Give Peace a Chance’, the demonstrations? Of ‘Imagine’? Are the songs for Yoko Ono? For Sean, ‘A Beautiful Boy’? The cumulative effect of listening to his songs, hearing the lyrics? A study of Lennon’s music?

4. The title, the Government of the United States, the people of the United States against Lennon? The reaction against the Beatles, against John Lennon’s comments about Jesus Christ? His interpretation of them and the way that they were misunderstood? The calls to destroy Beatles records, demonstrations against them? The inflated sound of the title – but the reality of John Lennon as a target?

5. The thesis of the film, John Lennon in himself, the brief explanation of his background in Liverpool, his being abandoned by father and mother, his growing up, being a rebel? The collaboration with the Beatles, just simply wanting to sing in a band? The impact of the Beatles, their comments, Lennon as the vocal leader? His seen as odd? Lennon as an artist, poetic, poetic language, play with language, performing arts? Especially with Yoko Ono? For peace? His meeting the political activists like Abby Hoffmann, Bobby Seal? Taking on their causes? The importance of the Sinclair case? Using his music, writing music for specific purposes including the Sinclair case, his popularity? Being perceived as a danger and his influencing young Americans?

6. J. Edgar Hoover, his history? His speech about urging Americans to have moral indignation against such people as Lennon? Ignoring the moral indignation of the protesters against the war? Anticommunist, his comment about better red than dead? His use of authority, authoritarian? His own version of democracy? Having Bob Haldeman’s ear, access to Nixon? The photos with Nixon? The range of files, the reasons? The testimony of former agents, both for and against Lennon? Their observations on Lennon’s danger, how this was interpreted? The immigration issue?

7. President Nixon, his statements about artists? His aides, the comments of Carl Bernstein in retrospect of All the President’s Men? The waging of the war, the conventions in 1968, his election platform? The invasion of Cambodia? His resigning, disgrace? Nixon in retrospect, Lennon and his staying in America?

8. The film’s portrait of the war in Vietnam, the explanation of the history, Vietnam as a monarchy, US commitment, L.B.J., Nixon? The 60s conventions – and the protest, the police bashing youth in Chicago? The deaths at Kent State – and the comments about how this was inevitable from the point of view of the FBI agents? Vietnam, the bombing of Cambodia? The testimony of Ron Kovic, his popularity from Born on the Fourth of July, the quality of his reflections?

9. The peace rallies, the crowds, the comparisons with Martin Luther King, King’s death in 1968? Demonstrations, the Sinclair concert, Sinclair’s own observations and memories? The song? Sinclair and the drugs, the punishment? His being let go?

10. Politicians and TV shows, Bobby Seal, Lennon interviewing people like Seal, Seal as political, commentators perceiving the dangers, the comments on Lennon being a dreamer, naïve? Invitations to Florida for the convention, he and Yoko Ono not going? His comment about being paranoid?

11. Performing arts, the Bed Ins, the eccentricities, in Amsterdam, the press, prurient curiosity, the role of performing arts and drama to convey messages? Get people talking? The other activities, Yoko Ono and her influence, performing arts, her songs, the posters – “Peace can come if we want it”?

12. The picture of Yoko Ono in herself, love for Lennon, support, the bonds between the two, Lennon dominating the press conferences, pregnancy, the birth of Sean, the happy years? The granting of permission to stay, getting the Green Card? Her comments from twenty-five years on?

13. Lennon in the US, his fight to stay, his lawyer and the testimony, the postponements, his feeling at home, in New York, where creativity and music were?

14. The impact of his assassination, world grief?

15. Lennon and his significance as a person, influence, symbol, artist?

16. The theme of arts and celebrities, communicating the truth, influence?

17. The film as contributing to a social history of the US from 1968 – and the testimony of such politicians as George McGovern? and Mario Cuomo?