QUELQUES JOURS EN SEPTEMBRE

France, 2006, 112 minutes, Colour.
Juliet Binoche, John Turturro, Nick Nolte, Sarah Forestier, Patrick Riley.
Directed by Santiago Amigorena.

This is a film set in the days immediately before the events of September 11, 2001. The film has an atmosphere of espionage as well as conspiracy theories – and an interesting perspective on French espionage as well as American espionage, links to the Middle East, Arabic-speaking countries and the terrorist attacks of the time.

The film structure is taking six days day-by-day. The initial setting is Paris where a French spy contacts the daughter of a former colleague who had worked with her in Iraq before the first Gulf war. Complications arise when the stepson of the American spy also arrives – tailed by a mercenary killer. The film then shows the cat-and-mouse tactics of the spy as she evades her pursuer, all the time protecting the squabbling young people. The scene shifts to Venice where there is a beautiful location for a melodramatic confrontation.

The film is particularly interesting because of its casting. Juliet Binoche is not the first actress one would think of to portray a tough secret agent. She does well in the role. John Turturro is manic as the pursuing killer, quoting literature, confident in himself – but relentlessly cruel. Sarah Forestier is persuasive as the temperamental daughter and Tom Riley is the stepson. At the end, there is a guest appearance by Nick Nolte as the American spy.

The film was written and directed by Santiago Amigorena, Argentinian-born but who worked in France as a screenwriter, over thirty films for such prominent directors as Cedric Klabisch, Marion Vernoux and Stephane Clavier. This is his first film as writer-director.

The film is interesting as offering a different perspective on events in the Middle East, in Iraq, the Gulf war, espionage and motivations – and possible double-dealings by American spies, trying to make money out of the impending September 11 disaster.

1. French and American perspectives? Relationships, tensions, agents, deals? The world of espionage of the 1980s and 1990s? The consequences for 2001?

2. The popularity of conspiracy theories, with the background of 11 September? The plausibility of this screenplay?

3. The use of Paris locations and their beauty, Venice and its particular beauty? Authentic atmospheres? The musical score?

4. The structure of the film: the successive days, the five days before September 11? Setting the pace, creating tension?

5. The focus on Irene, Juliet Binoche’s performance, her receiving the letter, coming to visit Orlando, their discussions and hostilities, her story, her mission? Her wanting to meet Elliot? Irene and her past, in the Middle East, in Iraq, the Gulf War, the deals, negotiations? Creating wars in a sense? The deals with Saddam Hussein, his believing he could invade Kuwait? Some Americans persuading him of this? The war, its aftermath, terrorism in Baghdad, the death of Orlando’s mother? Elliot and his return to the United States? Her not having seen him for ten years?

6. Orlando, her age, the experience of her mother’s death in Baghdad, seeing it? Irene’s telling David this story later in the film? Her relationship with her father, resentment? Her being alone, suspicious? Her anti-American stances? Wondering whether they were really human? The political arguments, the racist arguments in comparisons with the Japanese?

7. David, his arrival, the puzzle, his background, Elliot’s stepson, not knowing his father’s name, his own mother’s death, his admiring Elliot?

8. William Pound, following David, discovering Irene and Orlando? His having admired Elliot in the past, working for him, Elliot being a father figure? His being an assassin, ruthless with the murder of the concierge, ruthless with the killings in Venice for his surveillance? The phone taps? Calling Irene, her outwitting him in the rendezvous and escaping to Venice? Getting the information, tracking Irene to Venice, his arrival, surveillance, listening to the phone calls? His own reports? His phone calls to his psychiatrist, his quoting poetry? The story about the psychiatrist and telling him to tell any other patient to be patient when he rang? That he should destroy the father figure? His aims and having Irene in his sights? His killing Elliot, the confrontation between Irene and William, their taunting each other, the lights out? His death?

9. Irene with David and Orlando, their squabbles, suspicions, her care for them? Her going out, the phone calls, the decision to go to Venice, her outwitting William Pound? His following them and their knowing it? The Arab businessmen and their observing as well? Her discussions with the Arabs, trying to find out the truth, the postponement of the meeting with Elliot? Going on the outings, the meals? The tensions in the apartment, the pillow fight? Her tortoise? Her seriousness in Venice, the rendezvous in the church, wanting to buy the record, meeting Elliot, killing William?

10. Orlando and William, Orland’s name, his taunting her, the idle games to fill in time, the growing relationship, the sexual relationship, the touch of relationship – with no relationship? Her changing, the pillow fight, the tenderness, the meals? Orlando and her bile against Americans, calling them dinosaurs, the attack on President Bush? David and his attempt at defence?

11. Elliot’s arrival, his age and experience, his mission, his secrets, his advice to the Arabs, making money, getting a commission? The build-up September 11, his being in the know, the arrangement about the percentage for his children? His hopes? His death and his attempt to apologise?

12. The ending, Orlando and David together – the possibility of staying in Venice, the money they would inherit? Irene, the discussions, her future?

13. The atmosphere of 11 September, the suggestions on the television and people watching? Terrorism, the Middle East, conspiracies?

INFAMOUS

US, 2006, 118 minutes, Colour.
Toby Jones, Sandra Bullock, Daniel Craig, Sigourney Weaver, Isabella Rossellini, Hope Davis, Juliet Stevenson,Jeff Daniels, John Benjamin Hickey, Peter Bogdanovich,
Directed by Douglas Mc Grath

Infamous has been billed as ‘the other Capote’ film. It is one of those strange occurrences in the film world that two films on the same character or subject are made at the same time. Capote was very well received a year ago and led to Philip Seymour Hoffman receiving numerous awards and the Oscar for his portrayal of Truman Capote. Film buffs who enjoy comparing versions will be very pleased to see this interpretation – in fact, it can be recommended as a further insight into Capote, perhaps more focused and deeper than the former film.

Douglas Mc Grath (Emma, Nicholas Nickleby) has written a literate screenplay and directed. It does go over the previous ground, focusing on the same years. However, it gives a great deal of attention to Capote’s New York social life, the gallery of socialites that he dined with, gossiped with and received so much affirmation from. The relationship and work with Harper Lee is also examined as is his collaboration with the family of the investigator, Alvin Dewey, into the Clutter killings. We see the origins of In Cold Blood and share the process of writing.

More extensively than in Capote we see the developing relationship, with its moody ups and downs, between Truman and Perry Smith. Infamous does it better and with more insight than Capote.

Infamous is blessed with a powerful, an extraordinary performance by British Toby Jones as Capote. He is the correct height and build and impersonates the mannerisms to great effect. It is also an award-meriting performance. One of the great and pleasant surprises is the presence and performance of Sandra Bullock as Harper Lee. She contrasts in appearance and manner from the socialites and is understanding and patient with Capote. Sandra Bullock has done so many comedies and light romances that audiences will be surprised at the maturity she brings to this role.

The other big surprise is the casting of Daniel Craig as Perry Smith. The US release of the film coincides with his first appearance as James Bond in Casino Royale. This performance is quite the opposite. He brings an edge to the character of Perry, wary of Capote’s motives yet able to be influenced by his charm and sweet-talking about literature and language. His moods vary and he exhibits at some moments a viciousness towards his mentor. He reveals himself, so much so that it almost means that he is the true love in Capote’s life. This makes the execution scene and Capote’s behaviour more harrowing.

There is a gallery of stars to play Capote’s circle including Sigourney Weaver, Hope Davis, a highly eccentric Juliet Stevenson and Isabella Rossellini. The cast also includes Jeff Daniels as Alvin Dewey, Peter Bogdanovich as publisher Bennett Cerf and John Benjamin Hickey as Capote’s lover, Jack Dunphy.

The film opens with Capote at a night club listening to a lounge singer performing Cole Porter’s What is this thing called love. Critics talk about show-stoppers. Gwyneth Paltrow’s rendition is strong, then seems to falter until we realise what she is doing … and the song goes on powerfully and offers a symbolic tone to the film. She appears only during the credits but it is a memorable cameo. (She played Emma in Douglas McGrath’s? film of 1996).

This is an excellently crafted film, well acted and offering a great deal of thoughtful entertainment.

1. Impact? A portrait of Truman Capote? Biography? Re-creation of a period? His New York circle? Life in Kansas? The re-creation of In Cold Blood?

2. The impact of the other versions of Capote and of In Cold Blood? The contribution of this film? Different insights?

3. New York in the 1950s and 1960s, the opening, Cole Porter’s song, “What Is This Thing Called Love”? The singer, her pause, people’s feelings, her starting again, the rhythm? Babe and Truman watching? The range of drinks? Tears, applause? Indication of the theme, the search for love, emotional response, yet a performance? Manipulative?

4. The range of witnesses and their style, their monologues, showing their characters, their eccentricities? Gossip, the cult of celebrity? Babe Paley, wife of the CBS head, her status, her sad telling about her husband’s affair? Slim Keith and her divorce? Diana Vreeland and her manner, eccentricity, ironing her money etc? Bennett Cerf and publications? Gore Vidal and his perspective? John and his relationship with Capote? Seeing the characters in action, their comments, their comments on him? Audience response to the credibility of each character?

5. Harper Lee, different, from the south, her long monologue about Truman Capote’s childhood, the Christmas pageant, his disappointment in his parents not coming, his cartwheels? His character, his friends? Her own appearance, style? The success of To Kill a Mockingbird? Being the Jane Austen of the south? Her Pulitzer Prize?

6. The world of gossip, gossip throughout, Truman’s performance, revealing the secrets about Dick and Perry to his friends, performing? Harper Lee and her not being a gossip, in the end his relying on her?

7. Toby Jones as Truman Capote, his height, look, voice, mannerisms, reference to his appearance and reputation as a wind-up doll, his affectations? His love of parties, gossip, success, his own opinion about himself, his books and promotion of them, his circle and talk, confidences and repeating them? On each return from Kansas?

8. His relationship with John, John the introvert, the sexual partner, John’s reflection about sex and love, their walking together, John trying to write his book? At the gathering, learning the twist, the drinking, the dinner and the talk, John being rude to Bill Paley? His refusal to go to Kansas for the executions?

9. Capote reading the article about Kansas, sharing it with the different people, with Bennett Cerf, his going to Harper Lee, their travel, the luggage on the station, the isolation, his manner, people mistaking him for a woman on the phone, at the press conference, the snide comments when he asked Dewey questions? The discussions with Dewey, his refusal of access, his accosting people and asking them for information? Harper Lee’s advice, his vanity, the telegrams from Noel Coward and Princess Margaret…? Contacting the lawyer, the silent tour of the house and the audience seeing the place for In Cold Blood?

10. Christmas, alone in the hotel, his going to buy the cheese, his snobbery, the encounter with Mrs Dewey, her invitation, going for drinks, the gifts, his talking, the scepticism of the visitors, especially Dewey? The reference to Humphrey Bogart and Beat the Devil, his stories about celebrity? Beating Bogart at arm-wrestling? The son coming further and further into the room? Everybody listening and excited? Arm-wrestling with Dewey’s son and letting him win? Dewey’s taunts, beating Dewey? Dewey getting Capote’s books? The invitations to the friends, the visits, the chatter, gaining the information?

11. His aim in writing In Cold Blood, a different kind of reportage, bringing the techniques of fiction, psychological understanding? Harper Lee’s disagreement? Dewey reading Capote’s books, not helping him? Cerf and his help?

12. News of the arrest, going to watch, the impact of Perry? His visit to the prison, getting the president’s approval? Dick and his talk, his bluntness, the details of what happened? The difference with Perry, Capote’s attraction, looking at him, Dick giving him the hint about art, using ploys to get him to open up, the books, the discussions about Tennessee Williams and Marlon Brando? Getting his trust, Perry and his wariness, yet his illiterate messages?

13. Perry in himself, the importance of the flashbacks, visualising his parents and their lives, rodeo riders, his mother taking them away, the encounter with his father at school, his father saying he could not take him, setting up the café, doing the artwork and the painting, nobody coming, his father blaming him? Truman’s respect and Perry’s valuing it? Calling him Friend Truman? Their talks, the moods, Capote listening? Perry listening after being upset about the talk about his mother’s suicide? His anger at the title of the book, his interpretation, feeling violated, wanting to violate Capote and making him afraid? His reading some text? The bond between them, the kiss, the years passing, five years of letter-writing, the final request, Capote urging him to apologise? His will and leaving everything to Capote, the drawings?

14. Capote and telling Perry the life story of his mother, her marriage, her ambitions, her vanity, her suicide? His love for his mother, yet her abandoning him? The growing relationship with Perry, Perry talking and listening? His shock at what he was told, the In Cold Blood aspects of the story, yet salaciously repeating them to his friends? Callous aspects? His wanting them to die, to finish the book?

15. Not wanting to go to Kansas, Harper Lee and John refusing, Bennett Cerf going with him, the day of the execution, Dick’s blunt farewell, his begging Perry to repent?

16. The scenes of the execution, the brutality of hanging, Dick’s hanging, thirty minutes to die, Dewey looking at his watch? Perry arriving, chewing the gum, his being hanged? Capote having to go out?

17. The end, Capote and his drink, Cerf saying that three people died that day, his comment about Capote’s subsequent life, the final comments from each of the circle?

18. His phoning Harper Lee, wanting to go out with her – having a good day, Prayers Answered?

19. The film leaving the re-creation of the crimes till the end, the detailed visualising of what happened, with each of the Clatter family, Perry’s tenderness with the boy, the taunts by Dick, Dick wanting to rape the girl? The brutality of Perry shooting? Demanding that Dick kill the women? His saying that he didn’t want to kill them? Capote’s theory that they were not each capable of doing the crimes but together, they were one person?

CRANK

US, 2006, 87 minutes, Colour.
Jason Statham, Amy Smart.
Directed by Mark Neveldine and Brian Taylor.

There must be a niche market for this kind of action plus show: maybe gang leaders, assassins, psychopathic thugs who can watch the behaviour of Jason Statham, the ‘hero’ of Crank, and think, ‘I could be a thug like that when I grow up’.

This is one of those films where you need to make a distinction between form and content. Crank will get top reviews if attention is given solely to form. It is extraordinarily fast-paced, with rapid editing cuts, split screens and no wasting time. It has a self-confident bravura.

As regards content, Statham’s assassin, who like the hero of the classic DOA story, has been poisoned and has only a short time to live, is desperate to find a remedy or an antidote. His doctor tells him that what will keep him alive is keeping his heart pumping. His attitude then is of complete recklessness and disregard of anyone who gets in his way. He speeds through and smashes through a shopping mall. He crashes into people in the street. He blithely knocks doctors and nurses flying in a hospital as well as desperately ill patients. They don’t matter. All that matters is that he keeps the adrenalin pumping. The action becomes more and more absurd, including a ludicrous public sex episode and a finale fight on a helicopter and some free falling (where he actually uses his mobile). Some of the dialogue is tongue-in-cheek and the screenplay has TV and police acknowledging the mayhem and injuries he has caused.

But a self-absorbed, thuggish hero like this…?

1. The audience for the film? Action fans? Potential thugs!

2. The form of the film: swift pace, action, editing? Musical score? Pounding? An adrenalin form? Audiences responding favourably?

3. The content, the focus on the criminal? The wakening, watching himself on the screen, the threats from Verona? His being poisoned? His reaction, self-absorbed, desperate? Keeping the adrenalin pumping? The phone calls to the doctor? His going on the rampage, the car, smashing through the mall, crashing into people at the café? Going to the hospital, tossing doctors out of the way, disguised as a patient, upsetting the patients? No regard for anyone? His going to the club, threatening and the blacks pulling their guns on him? His getting away? Going to the warehouse, the shoot-out? The confrontation with the Mafia? The revelation that he did not kill the Chinese boss? His wanting to reform? Going to Eve’s place, going out with her, the sex in the public place? The absurd behaviour? Her following him, the warehouse, the shoot-out, down the fire escape? His continued pursuit, getting Verona, the attack on his brother and severing his hand? Going to the roof of the building, the helicopter, the fight, the free-fall, using his mobile phone, crashing to his death? What kind of hero?

4. Eve, lackadaisical, not taking anything seriously, getting ready, delays, the phone call, his spilling her purse, avoiding the shooting? The sexual encounter, her reaction? Following him to the warehouse? Believing him?

5. Verona, criminal, ambitions, the poison? The communications, the television, the phone? The final face-to-face confrontation, falling from the helicopter, his death?

6. His contacts, their being tortured, stakeouts?

7. The criminals, the gangs, the violence? Los Angeles and the triads? The Mafia?

8. The television, the comments – and the comment on the mayhem and the bodily injuries?

9. The overall value and effect of this kind of film?

L'ADVERSAIRE

France, 2002, 129 minutes, Colour.
Daniel Auteuil, Geraldine Pailhas, Francois Cluzet, Immanuel Devos, Bernard Fresson.
Directed by Nicole Garcia.

L'Adversaire is a strong film about a man who seems on the surface an ordinary married man and father who in fact, has killed his children, wife and parents. The film is based on a true story, of a man who killed his whole family in 1993.

The strength of the film is in the performance by Daniel Auteuil, veteran of a wide range of French films, probably one of France’s leading actors, as in Jean de Floret, Manon des Sources, The Placard, Thirty- Six, A Heart in Winter. He is strongly supported by French character actors including Immanuel Devos.

The film is a psychological study, the building up of atmosphere, the revelation of a lethal killer in a quiet ordinary man.

The film was directed by Nicole Garcia, a veteran French actress since the late 1960s who also directed six feature films including Plas Vendome with Catherine Deneuve and the interesting portrait of a French town and its tensions in, Salon Charlie.

1. An interesting film? Entertaining? A case study? A serious French portrait? An objective look at situations and characters? A stylish drama with a strong cast?

2. The film based on a true story? The credibility of character and plot? People being deceived by the killer?

3. Geneva, the Swiss settings, the French settings? The city, homes, forests? An ordinary world, the world of high flyers? A context for the character of Jean-Marc? Faure?

4. The structure of the film: the end, the date, Jean- Marc and the aftermath, the video and intentions? The interspersing of Jean- Marc and his activities? Luc, Marianne and their questions?

5. The portrait of Jean- Marc, Daniel Auteuil and his screen presence, skills? His parents and their simplicity, the studies, his not passing the exams, Luc and the friendship, Christine and the relationship, on and off, the marriage? Declarations of love? The domestic scenes? Ordinary and nice, the children, the gentleness? The perfect life and explanations?

6. The truth, a lack of job, driving, inventing, presumptions, money and his parents, pretending to have connections, the trips, the confessions and his sleep? The language – and the credits?

7. The character of Christine, nice, her relationship to Jean- Marc, to the children? To Luc? Work, medical, friends? The Catholic atmosphere, school? The issues at school? Luc’s advice about her health? The truth, the truth about school?

8. Christine’s father, demands, management, the death? The in-laws at the meals?

9. Marianne, Luc and Christine, the influence? The divorce?

10. Luc and Marianne, the dinner, the gifts, declarations of love? Her caution? The visits, discretion, the night? Remy and the dentist? The boring Doctor Bocak? Issues of money, the car trip?

11. The increase of lies, Jean- Marc being found out, his mother, Christine?

12. Christmas, the questions, the tape?

13. The lethal character of Jean- Marc, breaking through the surface, his parents, Marianne and her visit? The calm? The behaviour of the sociopath? Burning the house? Saved?

14. The magistrate, the deposition? The focus on the countryside in which these kind of events could have occurred?

ALIEN RESURRECTION

US, 1998, 116 minutes, Colour.
Sigourney Weaver, Winona Ryder, Dominique Pinon, Ron Perleman, Gary Dourdan, Michael Wincott, Dan Hedaya, Brad Dourif.
Directed by Jean- Pierre Jeunet.

On television, ads kept telling us to 'witness the resurrection'. Not a religious message, rather the promotion of the fourth of the Alien series. You know what to expect. Sigourney Weaver does battle with alien monsters aboard a space craft where the crew is gradually destroyed. But, resurrection? It is by cloning - and the film makes a grim prophesy about cloning: it creates many mutant mistakes and almost eliminates what is truly human.

In fact, this kind of science fantasy probably helps more people understand the scientific and moral implications of genetic experiments than textbooks or lectures. What a pity then that the acting is so mediocre and the screenplay is so aggro crass, pseudo-macho and would-be ironic. Mercifully there is very little of it. Visually and thematically the film is quite arresting and impressive. But that dialogue!

1. The impact of the Alien series? The breakthrough with the original Alien? Aliens and the domination of Ripley? The darkness of Aliens 3? This film in the series? An episode in the series?

2. The Alien films within the tradition of the monster films, monster myths, devouring monsters? The battles against the monsters? The threats to humans? The themes of nightmares?

3. The introduction of the themes of cloning, the cloning of Ripley, the cloning of the queen alien? The nature of mutants? The importance of robots and humans? The development of technology? The interchange between humans and robots? The film’s stances for and against cloning, robots, exploitation?

4. The humans, their limitations, the poor image – yet their triumphing at the end? The superiority of humans and human nature over technology?

5. The use of Panavision, the colour photography, the re-creation of space? The space stations themselves, the intricacies of the tunnels, the laboratories, the details of technology?

6. The aliens, the special effects? The gore, the fights, fear?

7. Alien and its use of the themes of The Lost Patrol, suspense, the patrol being pursued, the individuals disappearing from the patrol?

8. The quality or lack of quality of the dialogue? The language? The macho style? The feminist style?

9. The theme of Ripley, her sense of motherhood, with Annalee Call? The queen alien and the child? Maternal themes, the aliens?

10. The portrait of the doctors, as individuals, characters, the interacting personalities? Their experiments? In the laboratories? The ability to clone, the various failures, the use of cryogenics, Ripley and the passing of two hundred years? The operations, her womb?

11. Sigourney Weaver as Ripley, the various Ripleys? Teaching the others? The strength, the reliance on the doctors? Annalee? The baseball and the Betty crew? The ambiguities? Her sense of the aliens, her leadership? Confronting dangers, the swimming, the attacks? Falling into the nest, the birth, the mother? Her escape? The puzzles? Suffering but surviving?

12. Annalee Call, being tough, on the Betty, killing a Ripley clone or Ripley? The confrontations, the team? Deaths? The swimming sequence? Being shot? The truth? Intercontrol, the Sign of the Cross, the compass? The monster and the end?

13. The Betty crew, as pirates, crass, macho, their weapons, playing baseball, the reality of their mission? Leader? Sexuality? Brutality? Jonah and his role? Christy, Frank Elgyn, Vriess? The heroics? Stealing? Saved? The doctor?

14. The doctors and their arrogance, teaching, taunting – and cocooned?

15. The alien, the confrontations, the escape? The captain and the decisions? His death?

16. The visualising of the clone room, the killing of the clones, the nest and the theme?

17. In the tradition of the Alien films? Ellen Ripley as a powerful human/alien clone, hybrid? The war against the aliens? A contribution to the themes? Exploitation of the themes?

ANTZ

US, 1998, 83 minutes, Colour.
Voices of: Woody Allen, Dan Aykroyd, Anne Bancroft, Jane Curtin, Danny Glover, Gene Hackman, Jennifer Lopez, John Mahoney, Paul Mazursky, Grant Shaud, Sylvester Stallone, Sharon Stone, Christopher Walken.
Directed by Eric Darnell and Tim Johnson.

It has been done before, but why should the animal world be the multi-million dollar Hollywood symbol for contemporary allegories of human life? What was it in the American psyche that Pixar Studios and Dreamworks Studios recognised that persuaded them to spend years computer-animating the movies A Bug's Life and Antz and unleash them on willing and, as it turned out, eager audiences? I am not sure that many humans have a passion for ants, but we are certainly far more sympathetic after these movies than we were before.

The 'done-before' refers to Mr Bug Goes to Town, directed by Dave Fleischer in 1941 which, after not too successful a box-office response, was given a zippier title, Hoppity Goes to Town. It was the struggle between insects and humans (probably relevant in the atmosphere of World War II and the imminent attack on Pearl Harbour).

The 'done before' also refers to 1984's George Orwell's allegory of half a century ago, Animal Farm, which was filmed in animation in Britain and released in 1955, an allegory of tyranny amongst the animal themselves and reflecting Western attitudes towards the dominating socialism of Stalinist Russia.

Maybe animals are what T.S.Eliot calls 'objective correlatives', poetic and symbolic equivalents of human experience. After all, in Antz, we are back in a conformist world where the workers are the workers and unquestioningly do the workers' thing while the soldiers are the soldiers. What odds for it to be Woody Allen as Z (symbolic put-down alphabetical name?) to buck the system by rebelling and imagining that he could be something else (even to refusing to dance in conformist rhythm?)?

Well, Antz was written and computer-drawn more for adults than for children and Woody Allen was never more one of his own characters than Z, whether on the ant-psychiatrist's couch, or wooing the unattainable Princess Sharon Stone, though his yarns with Sylvester Stallone's soldier are entertaining introvert-extravert exchanges.


1. The impact of the film? Entertainment? Message? Animation style? The drawing, the movement, the layouts, the environment? The film for adult audiences? Children?

2. The strength of the voice cast, Woody Allen and his being the character of Zed? The other voices and their appropriateness? The drawings illustrating the characteristics of the actor voicing the character?

3. The themes, work, worker ants, class struggles, the overtones of Animal Farm? The film as an allegory of the human race?

4. The focus on Zed, Woody Allen, his voice, expressions, Zed sounding like a typical Woody Allen character? The therapy? An ant with ideas?

5. The world of the anthill, the visualising of the interiors? The worker ants, the millions of them, Zed as one in five million? The importance of conformity? The babies, the workers, the soldiers?

6. The routines in the ant world, the collection of food, the hierarchy? No free time – except for training? Seeing Zed at work, the morale, the team? Team spirit? The ants and their being walked over? The ants being part of the destruction ball, swinging – and being the ball?

7. The general, his character, the voice of Gene Hackman? The name: General Mandible? The importance of the tunnel, the schedule? Colonel Cutter, Christopher Walken’s voice and style, the assistant to the general? The other assistants? The revolution? The general, his interactions with the queen, getting permissions?

8. The princess, Sharon Stone’s voice and style? Her talking with the general, his being her fiancé, talking about war, with the queen, expectations of Princess Bala? Her wanting to go to the dance?

9. The princess at the dance, her meeting with Weaver, Weaver and his friendship with Zed? Weaver as the Sylvester Stallone type, the soldier, his appearance, muscles, voice? At the dance? The ants dancing in conformity? The theme of the Lords of the Earth? The information about a better place? Issues of democracy? Zed and his being arrested?

10. The visualising of the dance, the conformity, ‘Guantanamera’, the fight, Weaver?

11. The aftermath? Zed almost like a child in love, the work, wanting to change places with Weaver to see the princess? The soldiers’ dormitory? Zed in his plane, Zed and his rehearsing his speeches for the princess? Going on parade? The general’s speech on sacrifice? Sound Off? The termite attack, the battle, Zed and his being involved in the war, his life being saved?

12. Weaver and his enjoying the work in the mine, the two hands with the picks, his sex appeal? The threatening of downsizing? The taking of the rations?

13. In the mine, the character of Barbatus? His help? Separated from the body of the group? The advice? Zed being urged to think for himself?

14. The general angry with Zed as hero, the applause, the reaction of the queen, the princess? The difficulties? The arrest?

15. Colonel Cutter and his decisions, turning against the general? The defeat of the general, his being unmasked?

16. Peace within the ants’ world, Zed and his being a hero, the relationship with the princess? Acceptance by the queen? Weaver and his future?

17. The delineation of the supporting characters, their role in the plot? Chip, Muffy, Barbatos, Azteca, Grebs, the drunken scout? The foreman? The importance of the psychologist and the interviews with Zed?

18. The humour, the entertainment, the contribution of the actors? The visuals? The themes and the allegory?

THE MAN WHO WASN’T THERE

US, 2001, 116 minutes, Black and white.
Billy Bob Thornton, Frances Mc Dormand, Michael Badalucco, James Gandolfini, Katherine Borowitz, Jon Polito, Scarlett Johansson, Richard Jenkins, Tony Shalhoub.
Directed by Joel Coen.

This is a fascinating film. It is more of an art-house drama, but it should interest and entertain those interested in good moviemaking.

One of its qualifications is that it was made by the Coen Brothers. In fact, they shared the Best Director award for the film at this year's Cannes Film Festival. Over the last seventeen years, Joel and Ethan Coen have reworked most of the familiar Hollywood genres, giving them new life. They are highly inventive, both of them writing the screenplays, with Ethan Coen producing and Joel directing. There is their delightful chain gang and escape comedy with George Clooney, O Brother Where Art Thou. Their best known film is probably Fargo, that odd mixture of comedy and abduction and murder gone wrong, Fargo. Joel Coen's wife, Frances Mc Dormand, won a Best Actress award for her performance in Fargo. She also stars in The Man Who Wasn't There.

She plays the wife of a perfectly ordinary barber in a perfectly ordinary small American town fifty years ago. The humdrum routines, the small town rituals, the inflating of importance by big fish in small ponds make for ironic black humour. And the fact that the characters are barbers, salesmen, owners of department stores means that the drama works differently because it does not deal with affluent or glamorous characters who are larger than life.

But the focus of the film is on the barber. He is played in an effectively laconic, dead-pan way by Billy Bob Thornton. Thornton seems an unlikely film star coming, as he does from being a screenwriter (including his Oscar-winning Sling Blade). He has moved into film direction (All the Pretty Horses) but has become a versatile character actor. His barber is the introvert par excellence. He scarcely speaks in real life and then only in the most plain, obvious - and brief - ways. However, he does the voiceover commentary, telling us how he thinks (and doesn't think), how he feels (and doesn't feel). He seems incapable of decisions, just drifting through life, loving his wife and doing haircuts. And suddenly he is involved in a squalid web of murder and blackmail.

But what the Coen Brothers are doing this time is being inventive with the film noir thriller. Their film is made in black and white rather than colour. One of their main points of reference seems to be that marvellous noir film of 1944 on betrayal, insurance fraud and murder, Double Indemnity, with Billy Bob Thornton as a deadpan Fred Mac Murray. As the barber tells his story, he begins to ask himself some questions about himself and discovers more about his motivations, especially his capacity for jealousy and violence.

A theme that interests the Coens is that of justice and justice being seen to be done. They show people literally getting away with murder but then experiencing retribution for something else. Justice seems to go round.

1. Impact of the film? Acclaim? Decision? Cinematography? Performance? The work of the Coen brothers, writing and directing? Their range of interests, eccentric characters, the world of crime, laconic characters, ironic presentation? The visuals? The musical score?

2. The clarity of the black and white photography, symbolic black and white, the tradition of film noir, the atmosphere of films made in the late 40s, the characters and dialogue, situations, speech, the conventions, the differences? Crime, justice, poetic justice?

3. The strength of the cast, the quality of performance?

4. Ed’s voice-over, Billy Bob Thornton’s tone, timbre of voice? Ed’s look? Confiding in the audience? Irony, laconic, self-knowledge or not? The final irony that he was writing for a magazine to get some money?

5. Ed Crane? As the barber, his interactions with Frank, his explanation of the set-up, the ownership of the shop, talking or not? Frank and his incessant talk? His skills, customers? The story of his marriage, meeting Doris, the short courtship, her reasons for marrying him, his drifting into marriage? Expectations? Married life, routines, going home, the bingo? No children? Big Dave, friends? His encounter with Creighton Tolliver? The talk, the haircut, visiting him in his room, the idea of dry-cleaning, the issue of the ten thousand dollars? Doris’s family, the Italian background, Frank and the other relatives, the family picnic?

6. Big Dave, his reputation, with the store, his wife, his war record and his talking about it? His issue of the money and the blackmail? The deal? The agreement with Tolliver, Tolliver’s advance and Ed’s rejecting it? At home, with Doris, worrying? At the party, Big Dave and his confiding in him, later and Dave realising the truth? The confrontation, the anger, the fight, the knife – and Dave’s story about the Japanese and the knife? The irony that Dave had killed Tolliver because of the rash judgment that he was blackmailing him?

7. Ed, the aftermath, covering himself, listening to Birdie play? Entranced by her? His friendship with her father? Contemplating? The aftermath of the killing, his character and adjusting to the situation, continuing his work?

8. Doris’s arrest, the police coming to him in the barbershop and his shock, in the prison? Riedenschneider’s rhetoric, the possibilities, his language?

9. Riedenschneider and his being full of himself, his style, talking to camera, his ideas, ignorance? Wanting to get Doris off? The preparation for the trial? His being upset at Doris’s death? His return, defending ed, the lack of money, his sense of failure?

10. Frankie, his dismay at what had happened, being upset for Doris, his getting the new barber, the new barber and his talkativeness, his anger with Ed?

11. Birdie, her age, experience, playing, the performance? Her boyfriend? Ed, his silences? Arranging the audition, her playing, the impresario saying that she was not a good player? Riding in the car with her, her offer of sex, the crash?

12. The visualising of the crash, slow-motion, the wheel turning, the dream of Doris, the salesman, the interaction? His waking up?

13. Dave, his character, his wife, two-timing his wife? The store? Wanting to put Doris in charge? Their being together at the bingo, their laughing together? Ed and his quiet observations? Doris, her character, the affair with Dave, at home, relating well to Ed, taking him for granted? Her arrest, the repercussions, her killing herself?

14. Ed waking up after the accident, the police present, the arrest, the charge? The murder of Tolliver? His going to prison, Riedenschneider not helping him? The accusations – and his decision to write his memoirs? Getting the money? Possibility for Birdie?

15. A film noir at the beginning of the 21st century, the tradition from the 1940s? The popular style, the characters? Issues of character, guilt, fidelity, betrayal, murder? Poetic justice?

GYPO

UK, 2005, 100 minutes, Colour.
Pauline Mc Lynn, Paul Mc Gann, Chloe Sirene, Rula Lenska, Tamzyn Dunstone.
Directed by Jan Dunn.

Gypo is a derogatory term for members of the Romany community who have migrated to England. The setting for this film is Margate on the North Sea coast (the scene for The Last Resort which has many thematic resemblances to this film).

For thirty minutes, Gypo focuses on Helen, a young grandmother whose daughter, Kelly, has a young baby that she really couldn’t care less about. Helen’s husband, Paul, is a silent type who works as a carpet-layer. Helen manages, criticises, has some peace at a night class for sculpture and works nights at the local supermarket. She befriends a young Czech woman, Tasha, who works with her daughter, helps her and her mother when they are mugged and tries to help them when they are suddenly abducted to a Continental ferry. Where to from here?

The name, Paul, comes up in pebbles on the shore and we spend the next 30 minutes looking at Paul’s life and seeing the same events and listening to a shrill Helen from his viewpoint. He now says much more, much of it aggressive towards Helen, much of it insulting and racist towards Tasha. We see him at work, his infidelity and his tiring of his life.

Then, in pebbles, Tasha, and 30 minutes, on her life as a migrant from the Czech Republic, living with her mother in a caravan, afraid that her abusive father and husband will turn up. We see her devotion to her mother, her friendship with Helen, and its surprisingly growing into something more. And, finally, we see what the crisis is that Helen had to deal with and what eventuates for Tasha and her mother.

Three stories, three different points of view, the clever interweaving of all the threads. The performances, especially from Pauline Mc Lynn (familiar to many from Father Ted) are convincing. Paul Mc Gann embodies the taciturn and angry British man. Chloe Sirene is charming as Tasha.

The style of the film (using the Dogme manifesto of no artificial lighting etc and straightforward narrative) suits the subject and makes a small-budget film quite persuasive.

1. A small-budget British film, made in thirteen days? Impact for Britain, for European audiences? Universal themes?

2. The impact of the small budget, locations, cast, improvisation? Visual style? The use of the Dogme style with no artificial light, music?

3. The locations, Margate, the coastal town in winter, homes, stores, the streets, clubs? The atmosphere of the North Sea?

4. The structure and the three stories, the different perspectives on the same themes, perspectives on people, situations?

5. Helen, in herself, her age, keeping busy, the tension with her husband, giving him things to do, the sexual relationship, rebuffing his affection, his forcing himself on her? Her arguments with her daughter? Looking after her daughter’s baby? Matter-of-fact, at work, anxious, the meals, the discussions, Paul’s attack on foreigners? Her relief in the art class? Her friends? Meeting Tasha at home, Tasha’s mother and their being attacked, her helping? Looking after the mother? Tasha’s pass at her? The later visits? The bonds? Finally going to the caravan, searching for Tasha? The gaps filled in later? Going to the ferry, the surliness of the woman in the kiosk, seeing the boat, calling out?

6. Paul, in himself, age, quiet, as seen from Helen’s perspective, his own perspective? His work, hiring Iraqi illegal, paying him? His carpet-fitting work, feeling that foreigners were taking the jobs? Self-absorption? Recognising Tasha as a former prostitute, abusive of her at the table? His xenophobia? His going with the other woman? His work, the carpets, his fellow workers, payment? His daughter, the baby? His being tired, the decision to leave?

7. Tasha, the Czech gypsy background, in England with her mother, fleeing her father, her husband? Living in the caravan with her mother? Study, the friendship with Kelly, the visits? The encounter with Paul, memories of her past? The meals, the insults? The trouble, the mother being bashed, Helen’s visits, her making a pass at her, Helen coming back, the night together? The experience? The men, their arrival, the brutality? Hurrying to the boat, diving off, safety? Meeting Helen? A future?

8. The glimpses of Kelly, tough, her daughter, self-absorption – but more kindly with her friends? Clashes with her mother? Arguing against her father?

9. The workplace, Helen and her friends, the supermarket, the shifts, the night work?

10. Tasha’s mother, the migrant, language, attacked, fears? Love for her daughter? The two men and their brutality?

11. Life in Margate, ordinary people, the sullenness of the woman at the port?

12. Ordinary British people, foreign migrants, ordinary situations, crises, coping, problems solved or not?

VOLCANO

US, 2004, 104 minutes, Colour.
Tommy Lee Jones, Anne Heche, Gabby Hoffmann, Don Cheadle, Keith David, John Corbett, John Carroll Lynch, Jacqueline Kim.
Directed by Mick Jackson.

Volcano was pipped at the release post by Dante's Peak. However, Volcano seems to be much the better film (not necessarily more spectacular or exciting) but better in plot, focus and a certain plausibility that this might be the way to handle a volcano in LA. It is more of a problem-solving movie than a disaster movie. Tommy Lee Jones looks and acts like the man you could trust in this extraordinary situation as people wake up to lava flows, ash and quakes in downtown LA. Perhaps it is all solved too fast. Perhaps we don't know enough about the characters. Perhaps the family heroics at the end are too much. But, Volcano delivers on a spectacular situation, dangers and human spirit to do something about it. Interesting disaster and solutions.

1. Disaster films? In big cities? The volcano and fire of the disaster? Credible? Interesting and entertaining?

2. The Los Angeles settings? The detail of downtown Los Angeles? The buildings, the streets? The hospitals? Authentic atmosphere for this kind of speculation? The musical score?

3. The title, audience knowledge about volcanoes, eruptions, the tectonic plates and earthquakes, lava streams? The effect of lava? Dealing with a volcano, the underground channels of lava, blocking them? Controlling?

4. The city, the details of the way of life? Everybody in their ordinary jobs? The experience of the earthquake? Mike, at home, his background, his concern for Kelly and her fears? Doctor Barnes and her work with her team? Emmit and his work with the government control? The doctors at the hospital? The police? The situation with the underground railway, the work being done, the protests against it? The disruption of the Los Angeles underground, the tar pits, the potential for earthquake and volcano?

5. The eruption, the visuals of the volcano? The eruptions, the fireballs, the lava streams? The fires, the collapse of the buildings? The means taken to confront the lava, the fire brigades, accidents and deaths? Cars, collapsing buildings? The rescue of people? The underground, the fireballs, the lava? The escapes? The decision to find a cul-de-sac? The lava pushing through? The decision to drill into the sidewalks, the release valves, the control?

6. Mike, his skills, his interaction with Emmit and the police? Driving with Kelly, her being burnt, getting her to the hospital, the phone calls? The focus of sentiment and human interest? His meeting with Doctor Amy Barnes, their discussions, the bonding? Continuing to connect with headquarters? The police? The traps, his decisions, the men? His insights, his focus on the now rather than possibilities? The saving of Kelly, his gratitude to Doctor Barnes?

7. Doctor Barnes, her expertise, talking with the media? Her ideas, the possibilities of controlling the volcano? Her going underground? Her theories? Her going to rescue Kelly?

8. Kelly, the broken family, with her father, her angry mother? Her fears, in the car, getting out, the lava? Her being burnt? Going to the hospital, having to come out of herself, helping the children, her being found by Amy? Reconciliation with her father?

9. The doctors, at the hospital, Doctor Calder, her work, with the firemen, with Kelly? Her husband, his pressures, the facing of the situation?

10. Stan, the intransigence of the underground team, the building of the underground railway? The difficulties of closing down transport in Los Angeles? His men, the teamwork? Under the ground, his rescuing the driver, throwing the driver’s body to safety, his being consumed by the lava and fire? The other members of his team?

11. The police, their decisions? The black man and his being arrested, freed? The decisions by the police?

12. Emmit, at headquarters, handling the situation, channelling communications, his personal concerns?

13. A portrait of Los Angeles, coping with difficulties – and coping with disaster? Audience interest in disaster films, vicarious entertainment, what if…?

ONE MINUTE TO ZERO

US, 1952, 105 minutes, Black and white.
Robert Mitchum, Ann Blyth, William Talman, Charles Mc Graw, Richard Egan, Eduard Franz.
Directed by Tay Garnett.

One Minute to Zero was filmed during the Korean war and is a morale-boosting film for the American public. It highlights the background of the war, the Iron Curtain and the cold war, the invasion of the North Koreans across the 38th Parallel with the backing of Soviet Russia. It shows the American troops there training the Koreans as well as helping them in the attack. The film ends with the successful landing at Inchon.

The film is a standard war film, in the vein of the films of World War Two. It focuses on a particular group, led by Robert Mitchum with some authority. Ann Blyth is the romantic interest – though a strong character, employed by the United Nations. William Talman (the villain in The Hitch Hiker in the following year as well as Perry Mason’s adversary in the television series) is the colonel. There is good support from Charles Mc Graw and Richard Egan.

The film was directed by Tay Garnett, a veteran of many MGM films including Valley of Decision and The Postman Always Rings Twice. He worked with Mitchum in the IRA film of 1960, A Terrible Beauty.

The film is interesting in view of the subsequent history of divided Korea, especially of the isolation of North Korea, its threats to the South, its threats to world stability with its nuclear ambitions.

1. Interesting war film? In the tradition of war films? The focus on a small group, their action representing overall action?

2. The black and white photography, the re-creation of Korean locations, the mountains, the desert, Seoul? The re-creation of battles, air strikes, the processions of refugees? The musical score – and Victor Young’s famous song, ‘When I Fall In Love, It Will Be Forever’?

3. The historical background of the Korean war, the aftermath of World War Two, the defeat of the Japanese? The cold war? Russia and its influence in the east? Mao Tse Tung and communist China in 1949? Chinese backing, Russian backing, the invasion of the North Koreans? The infiltration in the refugee streams? The arms supplied by the communist powers? America and its decision to support Korea? The presence of the Americans as trainers? Supporting the Korean forces? The invasion of Inchon and the end of the war? The 38th Parallel and the division between the two Koreas?

4. Robert Mitchum as Steve Janowski? His being in his thirties, an authoritative figure? His war record? Demonstration of shooting the tank? Baker and his response to him? Joe Parker and his reliance on him? The encounter with Linda Day, the clashes, the discussions about the war and whether it was possible or not, the role of the United Nations? The encounters – and him stranded in the corridor? His finally lifting her and putting her on the plane? His strategies and tactics? With his men, under fire? His injuries, hospital, Linda coming to see him? The predictions that they would fall in love? The romance, in love, her story about her husband and his death, her not wanting to risk another romance and hear the news of death? The invasion of the North Koreans, the strafing of airports etc? The line of refugees, Steve and his taking over, his men, ordering them to fire, the danger of killing civilians, the fact of the civilians killed, Linda’s reaction? The reaction to his decision? The film’s justification of collateral damage? The appeal to deaths and injuries of American troops? (And the continued use of this argument over the decades?) His finally encountering Linda, her change of heart, a future together? His work in the war in the future?

5. Colonel Parker, lecturer, strategist, in command, the relationship with Steve, the discussions, the men, his own family background, his wife? Work in Korea, hard decisions? The other officials and the meetings, letting Steve have charge of operations with the refugees?

6. The ordinary troops, Baker, his loyalty, in the battles? Major Ralston and his service? The other men? The wives at home? Ralph, his eagerness, his death? The deaths of the troop, the few survivors? The spirit of the men?

7. Linda, the United Nations work, medical help? Her work with Doctor Engstrand? On-site, having to move, the refugees? Her gratitude to Steve for putting her on the plane? The return, falling in love, the scenes together – and singing together in the restaurant? Her dismay at the death of the civilians? Her not signing the paper commending Steve, listening to the arguments, her praying in the church?

8. The conventional characters of a war film? Familiar material? Well crafted – and of relevance, particularly in its time in the early 1950s?