PURITAN

UK, 2005, 95 minutes, Colour.
Nick Moran, Georgina Rylance, David Soul, Ralph Brown.
Directed by Hardi Hajaig.

No, not a witches of Salem story or something of that kind. Puritan is the name of the central character who does not act like a puritan at all.

Rather, as the Lebanese-born, London-based, writer-director, Hadi Hajaig, notes, it is a film noir in colour that connects with the themes of the supernatural. While there are elements of the supernatural, with a mysterious 300 year old house whose former owner conjured up the devil, which exercised baleful influence on a woman who shot dead her rock star boyfriend thinking him an intruder, it keeps its main malice for the central character, Simon Puritan (Nick Moran).

Simon has been a journalist with a book on the paranormal. Drinking heavily, he acts as a medium to help people in their grief. It is mostly faked with previous information, but some things he knows… When an attractive woman (Georgina Rylance) has a session (after a warning from her badly burnt and disfigured husband), he begins an affair with her.

This is where the noir part comes in. Since her husband (David Soul) is a brash American businessman with wealth and the art of a demagogue, you sense murder is in the air. Simon sells his soul for the woman – but, when he explains his theory of the fourth dimension, where time is not sequential and who knows what events influence what, we wonder whether his soul has long been sold.

Filmed in 21 days on a small budget, Puritan might be considered as an experimental film and a calling card for bigger films in the future. It achieves what it intended and provides a variation on the femme fatale and pacts with the devil.

1. The impact of the film? Film noir in colour? Supernatural film? British made? Small budget?

2. The location photography, Whitechapel and the opening credits and the maps? Simon’s apartment, his office, the darkness? The bright exteriors, the countryside? The churches? Interiors and exteriors? The mansion? The contrast between light and darkness? Authentic atmosphere – but atmospherically filmed? The use of colours? The musical score?

3. The plausibility of the plot? The focus on Simon, his work as a journalist, his interest in the supernatural, his researches? His own experience as a medium? Truth and fake? The encounter with Anne? With Jonathan Gray? The meeting with his friend Mickey? His not fulfilling his obligations, not going to the interview? Being abandoned? His encounter with Anne, attraction towards her, the meeting in the hotel, the beginning of the affair? The meeting with Eric Bridges and his temper? The aftermath? The affair, the urgent call, the death of Eric Bridges, Simon going to the house, the plan, the cover-up, tying Anne up, Bridges and his struggling, the disappearance of the knife? His going away, hiding for four months? His migraines? His going to the doctor? His seeing Mickey with Anne, her not coming to the hotel? The phone call, the encounter, the set-up with the gardener, his having the gun, Anne having the gun and arriving early, Simon’s arrival and Simon bashing him? The shooting, the explosion, his being badly burnt? The year passing? The doctor and the clearance of the tumour, with Anne, his vision of the girl shooting her rock-star boyfriend?

4. The importance of Simon’s interest in the supernatural, the man who conjured up the Devil in the house, the three hundred-year history of the house, the churches built on pagan sites, for pagan rituals or for worship? The appearance of the conjuror at the end? Simon as a medium? His explanation of the fourth dimension? Events not happening in chronological order? Simon and his depression, standing on the railway station, his being hit by the train, the warning from the burnt man? His being saved and going through his story with Anne? The irony of his warning himself? His seeing the past? His telling the conjuror that he was the Devil? His finally being with Anne and content?

5. How interesting a character was Simon? In his ordinary self? As his burnt self? His supernatural powers?

6. The visit of Jonathan Gray, his warnings – and the irony that this was the future and he was Simon?

7. Anne, her coming for the reading, the warnings by Jonathan Gray? The death of her sister? Her being comforted by Simon, attracted to him? The later meeting? The beginning of the affair? The meeting with her husband? Her relationship with her husband? The alienation? The stabbing, hiding the body? Her being tied up? Disappearance? Jonathan Gray saying that she was a femme fatale, repeating this process, marrying millionaires, killing them, inheriting their wealth? Her late arrival, her stories about the insurance office? The final confrontation? Was she a criminal? Did she intend to kill Simon? Finally being with him – happily ever after?

8. Eric Bridges, wealthy, his influence on industry, finance? His speech – right-wing fanaticism? Rousing the crowds? The confrontation with Simon? Anger? His being dead in the house, his bleeding, clutching Simon’s leg?

9. Mickey Conway, journalist, giving help to Simon, refusing to give him any more money, Simon’s failure to go to the interview? His going to Eric Bridges’ talk, getting Simon to take the photographs? Under suspicion from Simon when he met Anne? His being hit on the head, taken to the final confrontation?

10. The interlude with the woman coming downstairs, shooting her boyfriend – the evil power of the house?

11. The background of Simon and his work, the initial reading, the wife giving the information, the husband angry and punching him, coming back and hearing the truth?

12. How well did the themes all fit together? The explanation of time travel and fourth dimension?

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?

TWO DAYS IN THE VALLEY

US, 1996, 104 minutes, Colour.
James Spader, Eric Stoltz, Charlize Theron, Keith Carradine, Louise Fletcher, Austin Pendleton, Marsha Mason, Paul Mazursky, Peter Horton, Glenne Hedley, Jeff Daniels, Teri Hatcher, Danny Aiello.
Directed by John Herzfeld.

Two Days in the Valley is a smart crime thriller set in Los Angeles over a period of two days, where the heat is palpable. The film is made in the Robert Altman vein, that is multiple stories intersecting each other. They range from the police, insurance fraud, a has-been director who is suicidal, two women involved in their own schemes and webs.

The film has a very strong cast and was an early film of Charlize Theron who went on to win an Oscar for Monster. Many solid American character actors are included in the cast especially Glenne Hedley and Eric Stoltz. Keith Carradine and Louise Fletcher represent the older generation as does director Paul Mazursky and Marsha Mason. Teri Hatcher, later of Desperate Housewives, is also in the cast.

John Herzfeld wrote and directed a comparatively few films and television programs. They include the John Travolta-Olivia? Newton-John? fantasy Two of a Kind as well as the telemovie Don King with Ving Rhames and the thriller Fifteen Minutes with Robert de Niro.

This is a latter-day film noir in bright Los Angeles colour.

1. The structure of the film and its impact? The many strands, audience interest in each of them, in the intersecting and intercutting? The Robert Altman style of large-scale movie-making with many plots?

2. Los Angeles, the Valley, the look of the Valley, the different sites, homes? The streets? Affluence? The background for crime? The characters in this context? The musical score?

3. The structure of the film, the different focus points, the different links, the unity of intrigue, action and violence, shooting and death?

4. The focus on Lee and Dosmo, their characters, their work, listening to each other? The encounter with Roy, his wife? The sexual relationship? The minute and the questions? Killing? Lee and his icy manner, the plant, Helga? The relationship? Sexual drive? Dosmo, the Italian background, the clash, the vest, the escape? The confrontation and the vest, the shooting? Wes and the killing?

5. Dosmo, Susan? The meal, the director and Audrey? Helga? The plan to kill Lee? Susan and her achievement at the end?

6. The director, Evelyn, the dog? Ralph? The attempt to kill, not able to? The cement, Audrey, going to Dosmo, no fears? Helga, the killing of Lee? The future?

7. Becky and the truth, the relationship with Lee, the plan, Helga and Roy, the guns, the shooting and death?

8. Wes, the massage, the interaction with Lee, the shooting?

9. The contrast with Alvin, rigid, right, his daughter, the medical situation?
10. Detective Creighton, Carla? Death?


11. The short cuts, the action, the confrontations, the pacing? Crime, innocence, double-cross and fraud, victims? Violence and justice?

THE WINTER GUEST

UK, 1997, 108 minutes, Colour.
Emma Thompson, Phyllida Law, Gary Hollywood, Eileen Cockburn, Sheila Reid.
Directed by Alan Rickman.

The Winter Guest is grim. Opened out from a play, audiences may find it too dour, too contrived and too dialogue-driven. However, if you like a serious look at relationships, this film could be rewarding.

Phyllida Law and Emma Thompson (actual mother and daughter) play mother and daughter, daughter depressed, remembering her husband, mother incessantly commenting and criticising, always right. But there are three other pairs of characters. The daughter's teenage son encounters a girl who fancies him, two ageing ladies go to a funeral (their favourite pastime) and two thirteen year olds (with a propensity for swearing) play truant. The action takes place during one day. Who is the guest? Winter, so much in evidence in the snowbound town and the frozen sea? Death, which permeates the film? It is sensitively directed by actor, Alan Rickman, a heightened and stylised naturalistic drama exploring emotions. OCIC award winner in Venice, 1997.

1. The impact of the film? Human drama? Conflicts? Resolutions?

2. The title, the references? The transition from play to the screen? Opening out the story? The dialogue – stage dialogue or film dialogue?

3. The town, the street, the coast, ice, the beach, the cave, the house? The funeral? The wintry atmosphere and its evocation? The piano score and its mood?

4. The structure of the film: the four couples, the intercutting of the stories? Editing? The stories commenting on each other?

5. The story of Frances and Elsbeth? Age, the generations? The walk, discussions of mortality, waking, dreaming? The concern for Alex? Phyllida Law and Emma Thompson as real-life mother and daughter?

6. The mother and daughter relationship, Frances upset, the photos, Alex, concerned about him, the mother and her talk, the bath, not hearing? Frances’s anxiety about her mother? The songs? The telescope, the memory? Jamie – in the house? Each needing the other – declaring that they did not need each other? The hair? Frances wanting to go to Australia, with Alex? The decisions, or not? Jamie and the ties? Frances and her dislikes? Nurture, control? Her mother’s hold over her? The telescope? The comment about the brochure …?

7. The walk, their being close, the distance between them? Talking, the stick, memories, anger? Frances alone? Elsbeth and the boy – the toffee, the cat, the photos? Touching? The cigarettes, tea? The monologue of Elsbeth and her name, the two women together, the embrace? Death? Australia and the future?

8. Alex and Nita, Alex ready to go, his relationship with his mother, his grandmother? Teenage? The pie, the bike? Nita watching him? Her background, age? The snow, fixing the bike, on the ice, her feet, home? Beauty and warmth? The issue of sexual encounter or not? The photos – Alex’s future? Nita?

9. The two older women, their dress, age, the bus, arranging funerals, the paper? Lily and her being strong? The cremation?

10. Tom, Sam, truants, playing soccer, their mothers, the cave, fear? Sick, stone, the cats? The encounter with Elsbeth? The ice and the cat, the monologue? Sam, the search? A portrait of two boys playing on the beach and talking?

11. The birthday, winter, death, the degrees of connection and separation? The overall effect of insight into human nature and characters?

THE REPLACEMENT KILLERS

US, 1998, 88 minutes, Colour.
Chow Yun Fat, Mira Sorvino, Michael Rooker, Kenneth Tsang, Jurgen Prochnow, Til Schweiger, Danny Trejo, Clifton Collins Jr.
Directed by Antoine Fuqua.

Hollywood vehicle for popular Hong Kong star Chow Yun Fat, borrowing from Hong Kong police plots and action and bringing in Mira Sorvino as the equivalent of Maggie Cheung and the tough Hong Kong leading ladies. Directed with music video panache, it is mainly lots (and lots) of shooting, some gangster characters and more shooting, some touches of sentiment as the assassins target is a policeman's little son and then some more shooting. Shooting spree.

1. The popularity of this kind of action film? The star in his native Hong Kong? The transition to Hollywood films? This film in the Hong Kong tradition?

2. The Hong Kong locations, hit-men, the police, forgers? The plot? The style, the violence – for a US audience and western audience?

3. Panavision and colour, the dark shades of the film, the panache of the photography, the angles, the editing and pace, the musical score?

4. The re-creation of a violent world, guns, heroes, heroics, hit-men changing heart, villains, justice? Sentiment?

5. The prologue, establishing John Lee as a hit-man, his personality, indebted to Mr Wei? Mr Wei, his hold over John, his demands? The policeman and his son, vengeance by Wei, John having to kill the policeman – and unable to pull the trigger on his son? His moral dilemma?

6. The police work, the raid, the funeral, the son surviving, the attack?

7. John, a killer, his refusing to kill the boy, his participation in shoot-outs, his knowing that there would be replacements, his trying to get the better of them, the setups? The theatre?

8. Meg Coburn, her reputation for forgery? Her personality? Getting the passports, the shoot-outs, the gun? The clash with John, the bond? Their working together? The bar, the ambush, the apartment? Buying the guns? Her being taken by the police – and released? The passports, saving the boy – and the prospect of a happy ending?

9. John, his being wounded, family, his changing heart, his attack on the replacement killers, a sense of right?

10. The assassins, their skills, Wei and his commands?

11. The background of business, Michael Kogan and his role with Mr Wei? The spectacle?

12. The other characters, Mr Wei, Stan Zekof, Ryker, Collins, Loco? Their contribution to the plot, characters? Action and violence? Villains and heroics?

13. The blend of the Hong Kong and American style – how well did it work? The values behind the film?

PHENOMENON

US, 1996, 110 minutes, Colour.
John Travolta, Robert Duvall, Forest Whitaker, Kyra Sedgwick
Directed by Jon Turteltaub

George Malley is genial and popular, lives in a small town where he experiments with growing vegetables. He also fixes cars. After his birthday celebration, he sees a bright light in the sky which falls towards him and explodes. When he comes to, he is transformed, is highly intelligent and has telekinetic powers. As he discovers more of what has happened to him, he reads, discusses, learns Portuguese in no time to translate for the doctor to help with a patient.

A scientist interviews him and he is apprehended by the FBI who are suspicious about his knowledge and contacts. Meanwhile his puzzled friends support him as does Lace, a furniture maker with two small children, whom he courts.

Eventually, his condition deteriorates and the FBI keep him under custody in a hospital. However, he escapes and goes back to Lace where he dies. She mourns him. But a year later, all the town and his friends gather to celebrate his birthday as his memory and spirit live on.

Phenomenon is one of those films that can really be called nice - which usually means that they appeal to a wide audience, have laughs and tears and leave people feeling good. Jon Turteltaub also directed the `nice' Cool Runnings and While You Were Sleeping, Instinct and Disney's The Kid. It would not be surprising to hear that the screenwriter had been reading the Gospels while writing this film.

It is a feature of many films that `secular' filmmakers are intrigued by the figure of Jesus, his actions, his message and, especially the impact of his death and of his resurrection - and that his spirit still lives.

John Travolta's character, George Malley, is an ordinary man who has a transforming experience that sharpens his mind and enhances his already kind personality. The Gospel parallels emerge as do George's gifts: people wonder at his powers, discuss him among themselves, authorities are suspicious, people ask him for healing. Phenomenon is about the goodness of human nature and the final scene, while not exactly Babette's Feast, has the same message. (Because of John Travolta's being a Scientologist, some have seen a subtext on this Church.)


1. A pleasing film? A nice film? A film about goodness? In the context of the United States in the 1990s?

2. The background of the town, the detail of the homes, the streets, hotels, shops? The countryside? The homes in the countryside? The film as a piece of Americana? The songs – and the folksy touches?

3. The title, the focus on George and his experience? (And the background of John Travolta as a Scientologist – and the possible relationship of the film and its themes to Scientology?)

4. John Travolta and his screen presence, attractive, making George a genial character? With the rabbits, growing his vegetables, in the garage, fixing cars, his friendship with Nate Pope, the bonds between the two men?

5. The birthday party, the celebrations, the folksy charm? The phenomenon, the fire coming towards him, the effect on George, his transformation?

6. The effect on George in various details of his life: playing chess, reading the pages, the magnet, the telekinesis, the increase of knowledge and intelligence, his speed-reading, learning Portuguese, his way of talk, language? Explanations and lack of explanations? The experiments?

7. Lace, as a person, with her children, her work on the furniture? Her friendship with George? Going out to the hills, the flowers? Play, the meals? The furniture? The quake? The impact of the truth on her?

8. Nate, the bonds with the people in the town, especially George? As a character? His social status? The discussions, the explanations? Michaela?

9. The doctor, the chess games, examining the sick man, needing Portuguese, George and his knowing the language, intervening?

10. Professor Ringold, the experiments, the theories for the explanation, chance, coincidence? The issue of the lost boy, the woods, finding him? The relief of the mother? George and his experience of power going out of him?

11. The reaction of his friends, Doc Brunder and his reaction, friendship? Nate, Lace? The people in the town?

12. The arrival of the FBI, the interrogations, the tests? The military laboratory? The government interest, the possible use for weaponry? The importance of the quiet discussions with the FBI agent?

13. George, his acceptance of the phenomenon, his capacity for self-understanding, the advice that he received from Nate? The breaking of the mirror, the presence of the doctor, sensing the breeze? Other phenomena?

14. The transformation of George, the change, the shaving, the haircut?

15. The celebration, the television? The demonstration with the glasses? The possibility for healing, the crowds? The response of the press? The discussions about the light, and the light coming?

16. The hospital visits, Lace, Doctor Wellin? The experience of the rain?

17. George’s escape, reliance on Nate, the doctor and the tyres? The kids, eating the apples? The FBI and their confronting Lace? George on the hill, the love? His asking Lace to have faith in him? The build-up to his death? The professor and getting the papers to him?

18. Lace weeping, the grief at the death, the spirit blowing through the trees, the gentle breeze?

19. One year later, the fruit, Nate, the pregnancy? Michaela? The stars reaching down? Shining? The love for George, his bequest of love? The party celebration – the images of Eucharistic celebration, Thanksgiving and Memorial, the effect of the party and the celebration on each of those present?

20. A film of values, emotion, American paranoia, the wonders of the phenomenon – and the religious echoes and overtones?

THE PATRIOT

US, 2000, 175 minutes, Colour.
Mel Gibson, Heath Ledger, Joely Richardson, Jason Isaacs, Chris Cooper, Tcheky Karyo, Rene Auberjonois, Lisa Brenner, Tom Wilkinson, Donal Logue, Adam Baldwin.
Directed by Roland Emmerich.

The Patriot was written by Robert Rodat who wrote such different films as the family film, Fly Away Home, and Steven Spielberg’s Saving Private Ryan. American-written, it is a film about the War of Independence. It was considered objectionable by British authorities in the year 2000 who officially protested to the American government. British commentators also criticised Mel Gibson for appearing in it, commenting on a trilogy of attack on Britain from Gallipoli, Braveheart and The Patriot.

However, audiences will find it an interesting portrait of an aspect of the war of revolution. It is set in South Carolina in 1776. Mel Gibson plays a veteran of the Indian wars who wants to settle down as a farmer and have nothing to do with the war of revolution. However, his two sons enlist, one of them captured and about to be hanged, the other killed while trying to rescue him. This has such an effect on the farmer that he decides to go to war and becomes a strong leader.

The villain of the film is Jason Isaacs as Colonel Tavington who employs brutal methods against the rebel Americans. Again, the film was criticised by the British in 2000 for this character, considering him a caricature. Tom Wilkinson portrays the commander-in-chief of the British forces, Lord Charles Cornwallis.

The film was directed by Roland Emmerich who began his career in his native Germany. He made an impact in the United States with Stargate and, especially, with Independence Day. He also made the big-budget version of Godzilla.

1. An American epic? War epic? The importance of the War of Independence? The American ethos in the 18th century, the motivation for the war of revolution, its execution?

2. The re-creation of the 18th century, the countryside and way of life, the presence of the Britons, objections to British rule, objections to the rule of George III? The incidents leading up to the war, the Boston Tea Party? The background of work, farming? The religious devotion of the Americans? The nature of southern society? The background of the French- Indian wars? Life on the frontier? The traditions, the fight for freedom, the fight against oppression and brutality? The presence of the British militia? The musical score and its mood?

3. The response of the British, the assumptions about British superiority, the militias, the rule of George III? The various clashes? Their inability to hear the desires of the Americans?

4. The title, the American emphasis, the issues of the Americas?

5. The Martin family, the place of Benjamin Martin in his background of warrior, wanting to settle down, the farming? The memories of his dead wife? His number of children? Gabriel and Thomas, their place in the family, characters, their deciding to go off to war despite their father? Peter, anger? Susan and her not talking? The role of the aunt in the house, the different houses? The establishing of the characters of the family and the individual members?

6. The background of slavery, the slaves and their stances? The characters? Their decisions to fight? Exhibitions of prejudice? The promise of freedom? The role of Colonel Berwell? Benjamin Martin and his vote, his ideals?

7. The portrayal of the battles, the details on the two sides? The care for the wounded? The young men in battle? Colonel Tavington and his arrival, the Americans’ reaction? Gabriel, being captured, his visit home, the messages? Peter being shot? Benjamin and his reaction? Sending the children to be cared for by their aunt? The details of the battles and the fighting?

8. The portrayal of the British, Lord Cornwallis, his skills, personality, his diaries? His dogs? The codes? Society life, uniforms, etiquette? The banquets? His expectations? His property? His reaction to Tavington, the codes, brutality? The number of defeats, the role of the militia, the capture? Benjamin Martin and the negotiations? Prisoners and freedom? Cornwallis and his attitude towards Tavington, giving him permissions? The final battle and the defeat?

9. Colonel Tavington, his background, personality, brutality? With Cornwallis? The reactions of Cornwallis? The issue of the ghost? The battles, the hand-to-hand fighting? His brutality in burning the Martin house, the atrocity of the burning of the church? Confronting Martin? His having hanged his son?

10. The character of Benjamin Martin, an upright man, his decisions and motivation? His knowing the secrets of French tactics from his history? The shooting, the ambush – the ghost? The militia and the recruiting, going through the towns? Gabriel and his fighting? The girl and her father, the supplies? The role of the priest? The training, the skirmishes? The issue of reprisals – suicides, soldiers captured, freed?

11. The escape of the children to their aunt? The betrayal? The chasing of the children, their hiding, the house being burnt?

12. The issue of exile, Gabriel and his wedding, Benjamin and relying on the aunt?

13. Everybody returning, Berwell, Benjamin and Gabriel? The build-up to the final battle, Martin as a patriot, the codes of war, Cornwallis despising the militia, the retreat, the patriots winning?

14. The importance of the war of revolution in the United States, in the American psyche, independence and liberty, the Declaration of Independence, the consequences?

THE MACHINIST

US/Spain, 2004, 102 minutes, Colour.
Christian Bale, Jennifer Jason Leigh, Aitana Sanchez Gijon, Michael Ironside, Anna Massey.
Directed by Brad Anderson.

Quite an impact. This is a tour-de-force portrait of madness and the disintegration of a personality.

Screenwriter Scott Kosar has written horror films up till now – and the influence can be seen in this psychological horror portrait. However, he has moved on to a deeper level of human experience: conscience and guilt. He invites us into the mind of Trevor Resnick, a machinist in a large factory. Trevor is profoundly disturbed, destroying himself from the inside out. We soon realise that he is paranoid and delusional but we do not quite know what is real and what is not. He seems to be living a desperate nightmare even though he cannot sleep. Audiences need to hold on to their uncertainty as to what is actually happening to Trevor and what he is seeing in his fearful fantasies. There is a satisfying resolution and explanation – and a realisation that we have been offered clues all the way through if we have been alert enough. It is the kind of film that repays a second viewing to appreciate what has gone on, even if the experience is quite gruelling.

American financiers baulked at making the film so Kosar and his director, Brad Anderson (Next Stop, Wonderland) found support in Spain. You won’t pick it while you watch the film as it seems so authentically American, but it was all filmed very effectively in Barcelona. Anderson has created a striking visual style with his cinematographer, Xavi Gimenez, and an offbeat mood with his composer, Roque Banos, who has scored the film in the multi-instrumental, orchestrated style of classic Hollywood psychological dramas. All of these contributors to the film mention Hitchcock in their interviews.

Widescreen is exploited well for both naturalism and for paranoia. The colour style is limited palette, again partly natural but mostly suggestive of the subjective perspectives of Trevor.

Promotion of the film led to many interviews with star, Christian Bale, about his loss of weight for the role to make him look skeletally gaunt. (He did control his eating and lost 63 pounds.) His physical appearance and his skill in looking insane one moment and normal the next form the basis for a completely convincing while puzzling characterisation. Also in the cast (as real characters or figment characters) include Jennifer Jason Leigh, Aitana Sanchez Gijon, Anna Massey and Michael Ironside.

Critics have been busy finding names to suggest how the film works and the impact it makes: Hitchcock, David Lynch, Michael Powell (Peeping Tom), Christopher Nolan (Memento), Roman Polanski (especially his films about madness, Repulsion and The Tenant). The experience is referred to as Kafkaesque. The main clue is on screen with a copy of Dostoievski’s The Idiot. More to the point is Kosar’s reference to Dostoievski’s , The Double. Actually, The Machinist has absorbed these influences within its own originality.

1. The impact of the film? Visually, the techniques, the themes, the issues, characters, madness?

2. The Spanish settings standing in for Los Angeles? An American feel, the city, the freeway and apartments, the factories, the airport and the diner? The colour style?

3. The naturalism of so much of the film – especially for a film about fantasy and madness? The sense of realism? The moving between reality and fantasy? The dramatisation of mental disorder and disintegration?

4. The editing, the moving between the different worlds? The orchestra and the different instruments?

5. The machinist himself, a seemingly ordinary young man, audiences being able to identify with him, seeing him at work, with the other workers, home, relationships, sexuality? The loner?

6. The madness – inside out? His insomnia, the effect of the insomnia for a year, his collapse, what was going on in his mind, creating another life, his conscience?

7. How well did the film explain what it was doing with this character, madness from inside out, the clues? The clues from the hit-run, getting hit, the police, the child?

8. The opening, the situation, the water? The contrast with the end, Ivan – empty?

9. The themes of paranoia, schizophrenia? The importance of the notes on the wall, their content, style? Killer Miller?

10. How well could the film develop a character for Trevor given his condition? Aspects of character? With Stevie, after the issue with the body, his being at ease with her, sexual encounters, the visits, sharing with her? Her giving up? Cook, ease, pay, the photo, the change? The build-up to the confrontation?

11. The airport, the talk, the pie, easy and nice, compassionate, the boy, the outing, the fork? The bond? - and the later reality?

12. The portrait of the landlady, her wanting payment, going to the room, the leak, her leaving, wanting the bowl? With the police?

13. Trevor at work, the workers, the boss, Ivan – and appearances? The car, racing the lights, the bar, sexuality and laughter?

14. Miller and the accident, the aftermath, Ivan? Trevor interrogated? Ivan, the confrontation by the others? His being on his own, the attack, the visit of Miller and the argument?

15. The car, following the car, the highway, the numberplate and the request? Hitting the car, asking the police? Which self was this?

16. The desperate drive, the women, the Miller visit, the police and the hit? Imagination?

17. The ultimate effect of watching the film? The experience of sharing Trevor’s life, psychological dislocation? The other characters, Stevie and Marie, Miller, Ivan, Jackson? Mrs Shrike? The supervisor, the inspector? The real personality of Trevor, Christian Bale’s presence and interpretation, sleepless, skeletal? His guilt and acting out his guilt? The truth?

LONGFORD

UK, 2006, 90 minutes, Colour,
Jim Broadbent, Samantha Morton, Lindsay Duncan, Andy Serkis, Kika Markham, Robert Pugh.
Directed by Tom Hooper.

Longford is an excellent telemovie focusing on the life of Frank Pakenham, Lord Longford.

Lord Longford was in politics from the 1930s and leader of the Upper House during Harold Wilson’s government. A convert to Catholicism, he took up visiting prisons early in his political career and continued this throughout his political life. He was motivated very strongly by Gospel principles – and the film is interesting in showing Longford explicitly in prayer in his home as well as in church. It also has him discussing religious themes, spirituality and theological issues, especially forgiveness.

Longford became famous because he was invited by moors murderer, Myra Hindley, to visit her in prison. He did so, took up her cause, hoping to get her paroled. However, he was warned by fellow moors murderer, Ian Brady, that she was not to be trusted. Ultimately, this proved to be true.

Jim Broadbent gives a marvellous performance as Longford, looking and sounding like him. Broadbent is a versatile actor and won his Oscar for his performance as John Bailey in Iris. That same year, 2001, he appeared as the master of ceremonies in Moulin Rouge. Samantha Morton is excellent also as Myra Hindley. In her short career, she had several Oscar nominations including for Woody Allen’s Sweet and Lowdown and for Jim Sheridan’s In America. Andy Serkis (Gollum (?) in The Lord of the Rings, the model for King Kong) is sinister as Ian Brady. Lindsay Duncan has a very good role as Lady Longford, also a convert to Catholicism, who supported her husband – though was hostile to his friendship with Myra Hindley until she started to read documentation and took up her cause.

The film has a number of political characters in it including Harold Wilson, played by Robert Pugh, who dismissed Longford as leader of the Upper House. Anton Rodgers also appears as Home Secretary William Whitelaw whom Longford consulted about Myra Hindley.

The film is directed by Tom Hooper who directed the miniseries, Elizabeth I, with Helen Mirren and Jeremy Irons (which won a number of Emmy awards). The screenplay was written by Peter Morgan who had written quite a number of films but made an impact with his political drama, The Deal, directed by Stephen Freers, which dealt with the arrangements between Tony Blair and Gordon Brown about the succession. However, he came into more prominence, winning the screenplay at Venice 2006 with his screenplay of The Queen for which Helen Mirren won Best Actress. Morgan has the abilities to take current events and prominent people, make serious drama out of episodes (drawn on research but created by him) without seeming sensational or exploiting characters or situations.

1. The impact of the telemovie? A portrait of Lord Longford, a study of his life, campaigns? The blending of fiction and fact? The issues, especially prisons, Myra Hindley, Lord Longford’s campaign against pornography?

2. The work of Peter Morgan, his ability to take actual characters, be creative, dramatise characters and situations – the effect, not exploiting them? More effectively than docu-drama?

3. The structure of the film: 1987, the DJ, interviewing Lord Longford about his book on saints, the exclusion of calls on Myra Hindley, the listeners still calling in and making demands on Longford? The challenge to him? Yes or no about his regrets or not? The flashback to Lord Longford’s life, campaigns? His confronting the truth? The aftermath ten years later, Myra Hindley seeing Longford and apologising, his question about forgiving her?

4. The information about Lord Longford, the radio announcer supplying information, the visit to Ian Brady giving more information, Longford’s conversations with his wife and reminiscences? Early life, conversions, causes, politics, prisons, issues, the church?

5. Longford’s political life, his conversion to Labour, his role in the House of Lords, the visits to Harold Wilson, the threats, Wilson asking him to do the report on youth, his dismissing him and forgetting about the report? His later career, visits to the House of Lords, the campaign against pornography, his visits to the sleazier parts of Soho, his report? The letter from Myra Hindley, his going to visit her despite public opinion, the issues of visiting her? How he was regarded – considered crazy? The various debates, Lord Hailsham, the interview by David Frost? The insertion of actual television footage? His interview at his daughter’s launch, the press conferences? Outside Downing Street with the report?

6. How much did the drama depend on audience knowledge about the moors murders and their reaction to them? The 1960s, the serial killings? The clips from actual television footage, the interviews with the police? Popular anger? The arrest of Brady and Hindley, the trial, the photos – especially of Myra Hindley and her later changing the colour of her hair? The judgment, that Hindley was less guilty, that she was led by Brady? The various appeals? The parents’ anger, the parent with the knife, the later walk on the heath and the journalists taking photos of her with the prison warden? Her confession about the moors murders, despite what she had promised to Longford? Her going up to the moors, the search for the bodies? Audience reaction to Ian Brady, his reputation, psychopathic? Sinister, his attitude towards Myra Hindley, loving her, dominating her? The truth about her? Myra Hindley’s death?

7. The character of Myra, the issue of whether she was a hysteric or not, absorbing other people’s personalities or not, adapting to the people she was with? The background to her early life, her Catholicism? The meeting with Brady, the killings – and Lord Longford later playing the tape which he had ignored? Her saying she accepted her guilt? Her age, her smoking – and the later emphysema? Her asking for the visit, the books? Her studies in prison? Her model behaviour? Asking about writing to Brady, her letters – and Brady reading them to Longford? Her double standards? The build-up to her instruction, the church, the priest, confession, receiving the Eucharist? Her behaviour in prison, her attachment to prison guards, the lesbian aspects? The escape attempt with Trisha? The further trial and the judge’s comment? Her being transferred to Durham, the excrement on the wall, the treatment for the other prisoners? Her being drugged? Lady Longford’s visit with her husband, her change of heart? Her promises to Longford, her lies, her dismissing him casually, her listening to the radio interview about the book on saints and the questions? The final visit and her apology?

8. Ian Brady, his psychological condition, asking for Longford to visit, his sinister behaviour, denouncing Myra (and the audience believing him or her)? His psychological condition yet his telling the truth? His threats? His treatment of Longford, his insights into Longford’s attachment to Myra?

9. The quality of Jim Broadbent’s performance, his age, appearance, changing throughout his career? Lord Longford’s personality, a good man, the prison visits, his concern, diligence, his listening to Myra Hindley, his being moved, attached? At home, his devotion to his wife? The interviews, the media? Rachel’s launch and his wife being angry with him? The visits to Harold Wilson? The visits to Brady? The cumulative effect of the letters from Myra, his visits? His moving away after promising his wife, his involvement in the pornography campaign, his visits, encounters, observations? The interrogation about the effect on him? His returning to Myra? The importance of his faith, prayer, night prayers at home, in the church, communion at mass? The integrity of his life? His being shattered, his writing the book on the saints, the interrogation by the listeners, being asked yes or no about his helping Myra Hindley? The final visit? The importance of understanding forgiveness, his saying that he was doing so much for himself, with her betrayal of him, his having to search his heart about forgiving her?

10. Lady Longford, her character, support, the scenes with her husband, the ordinary scenes, her anger at his behaviour at Rachel’s launch, the meal table sequences, her reading Myra’s letters, her research, her change of heart, the visit with her husband and finding Myra drugged? Her talking with her husband, telling her family at the dinner table? Her feeling bereft when the truth was revealed?

11. The Longford family, Rachel Billington as the focus for the drama between parents and children, her being symbolic of the other family?

12. Prison life, the warders, the sympathetic Governor Wing, Trisha and the escape?

13. The cumulative effect of this kind of drama about actual characters, situations, political and social issues? Moral and religious issues?

ALICE’S ADVENTURES IN WONDERLAND

UK, 1972, 101 minutes, Colour.
Fiona Fullerton, Michael Jayston, Hywell Bennett, Michael Crawford, Davey Kaye, William Ellis, Ralph Richardson, Fred Cox, Frank Cox, Peter Bull, Patsy Rowlands, Roy Kinnear, Robert Helpmann, Peter Sellers, Dudley Moore, Dennis Waterman, Richard Warwick, Dennis Price, Flora Robson, Rodney Bewes, Spike Milligan, Michael Hordern.
Directed by William Sterling.

Alice’s Adventures in Wonderland is one of many versions of the popular Lewis Carroll story. It had star treatment in the 1930s in the United States, Disney made an attractive animated film in the 1950s. This was a musical version with a score by John Barry (the prolific Academy Award-winning musical composer for many of the James Bond films, Dances With Wolves etc) and lyricist Don Black (who collaborated with Andrew Lloyd Weber).

The film was directed and written by William Sterling who made very little by way of film or television but, in Australia, in 1960 made a television version of Ned Kelly and in 1964 a television version of A Man For All Seasons.

The film is full of British stars in supporting roles. Fiona Fullerton had appeared as Anastasia in Nicholas and Alexandra, appeared in Run Wild, Run Free and in The Human Factor but otherwise her career was limited to television and television movies. Various stars stand out including Peter Sellers and Robert Helpmann as the March Hare and the Mad Hatter, Ralph Richardson as the Caterpillar, Michael Hordern as the Mock Turtle and Dennis Price and Flora Robson as the King and Queen of Hearts.

The film was made in a widescreen process – which is not evident in television versions. In fact, some of the sequences seem quite compressed rather than the open vistas that the original process would have offered. Sometimes the film is rather flat, sometimes priggish (as is Alice at times). However, the songs are generally harmless (and forgettable) but the film has a certain charm and family audiences may well enjoy this version of Lewis Carroll.

1. The popularity of Lewis Carroll’s story? The 19th century, the imagination, the illustrations? The various film versions? This musical version?

2. The British production, BAFTA awards for cinematography and costumes? The sets, costumes and décor? Imaginatively bringing Lewis Carroll’s Wonderland alive? The musical score, the songs, their insertion into the plot, characters, comic songs?

3. The initial focus on Carroll and Duckworth, canoeing on the river, the picnic, Carroll beginning to tell the story? The introduction to Alice and the little girls, Alice falling asleep and going into her imaginary world?

4. Alice herself, her age, composure, her sense of superiority, her sense of wonder? The songs? Her falling down the hole, observing as she went, the room and her growing larger and smaller, the White Rabbit and his hurry? The effect of all these adventures on her?

5. The Lewis Carroll characters coming alive, the episodes, the comedy, the famous actors? The White Rabbit and his being in a hurry, his mixing Alice up and her identity, his finally leading her along? His appearance, fussiness? The Mouse, his stories, sadness? The Dodo and his sadness? The Guinea Pig Pat, Bill the Lizard, Guinea Pig Two? Ralph Richardson as the Caterpillar and his solemnity? Tweedledum and Tweedledee, their songs, as brothers, their fighting? The Fish Footman, the Frog Footman? The Duchess and the baby, ‘Off with her head’, her complaining, imprisonment? The Cook, her temper? The Cheshire Cat and his smiling – and the Queen wanting his head off? The Mad Hatter and the March Hare, at the table, their manners, their jokes, in the trial? The Dormouse and his sleeping? The Cards and their painting the roses red? The King and Queen of Hearts, the Queen and her manner, wanting people beheaded, the Cheshire Cat, the trial of the Knave of Hearts, the conducting of the trial? The Gryphon, the Mock Turtle and his song? The cumulative effect of all these characters and what they represented?

6. The enjoyment of Carroll’s story? The imagination? The sense of wonder with Alice, a world of magic, songs and poems, eccentric characters? Their resembling characters in real life?