THE HITCH-HIKER

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

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

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

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

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

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

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

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

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

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

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

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

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

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

PEACEFUL WARRIOR

US, 2006, 120 minutes, Colour.
Scott Mechlowicz, Nick Nolte, Amy Smart.
Directed by Victor Salva.

Ten years ago, Victor Salva directed a strange story of an albino boy who seems to have had some kind of superpowers and the effect that it had on his family and those around him. It was called Powder. In the meantime, Salva went on to commercial success with the horror story, Jeepers Creepers, and followed it up with a successful sequel. Now he has come back to the themes that interested him in Powder.

Daniel Millman is now a successful author and has a career as a motivator. This story, based on his novel and using his name for the central character, is high on motivation.

Danny (Scott Mechlowicz, Eurotrip, Mean Creek, Gone) is a top gymnast, arrogant, popular and hoping to compete in the Olympics. The world is his oyster: success, girls… But he suffers from nightmares where he has accidental falls. One night he wanders into a service station and encounters a gruff attendant who bewilders him with his behaviour and his comments. He comes back and soon falls into a disciple-master pattern. The method has echoes of Eastern mysticism, Buddhist meditation and the emptying of oneself. It is a way of inner knowledge and personal asceticism.

He is not an immediate convert but he does become aware of his self-absorption and the consequences for others. It is when he actually has an accident and has to face his inner fears as well as acknowledge that gymnastics are what make him feel himself that he moves to success. Mechlowicz is appealing as the young gymnast.

The film is also very interesting with Nick Nolte as the mechanic guru whom the young man nicknames Socrates. The screenplay gives Nolte the opportunity to dispense some aphoristic wisdom and play a combination of guru and guardian angel.

Whether an audience will be persuaded to faith in the inner self and the relinquishing of selfishness is debatable – but one hopes that it does, especially for the audience who could identify with the ambitious young man.

1. The blend of entertainment and inspiration?

2. The background of the author, biographical, sport, aims and ambitions, experience? Writer and motivator?

3. California, Berkeley, the campus, gym, apartments, the service station, the streets, hospital? Authentic? Musical score?

4. The title, the warrior and aggression, peace and inner self?

5. The opening dream, Dan and his gymnastics, his fall, shattering his leg? Waking in fear? The later dreams? The reality of his accident?

6. Danny in himself, age, experience, student, excellence at gymnastics, his skills, his casual relationships, girls, his friends, rivalry? His betraying them in terms of friendships, sex? Jogging with his friends, their talk, flirting? His ambitions as regards the Olympics?

7. His waking in the night, walking around, the service station, meeting Socrates, the discussions, the challenge, seeing Socrates on the roof, his puzzle? His continued returns? His discussions, listening, understanding and not understanding, attracted to him, the effect on his life? The meetings with Joy, jogging with her, the discussions, the mystery of Socrates? The friendship with Socrates, working for him? His techniques, silence, reflection? Focusing? Socrates making him sit on the car, the reasons to be given for inner life? The effect on him, but his not becoming selfless?

8. Socrates, Nick Nolte’s presence, his work, Dan giving him the nickname, the movement to the roof, the detailed work, his friendship with customers, the focus on service? His challenging Dan? Asking him questions? Coaching him in self-reflection?

9. The nature of the motivations, the influence of eastern mysticism, Zen, Buddhism, focus, meditation? The contrast with western methods of achievement?

10. Dan, riding the bike, aggression, the accident? Waking up in hospital, learning the truth, the words of the doctors? The visits of his friends, the long process of therapy, exercise, walking, the stick?

11. Regaining his strength, using the walking stick, going to Socrates again, reflection on the meaning of the accident, on the meaning of his life and ambitions, what was most dear to him? Socrates and the continual challenges? Going deeper into his life, sacrificing surface realities, especially relationships, sexuality…? The continued friendship with Joy? His friends? His going to apologise to them about betrayals? The influence of the coach, prior to the accident, his achievement, the coach’s ambitions for him? His skills, the practice, his regaining his strength, jogging and exercise?

12. The influence of Socrates, his self-reliance, focused, having the beer with him and the cigarette – and learning that the important thing was control and decision-making, responsibility? Drawing on his deepest strengths and hopes?

13. The application for the Olympics, his petition to the coach, the coach turning him down? His returning, his performance, the exhilaration of the performance? The coach’s amazement? His friends? Success?

14. His going to see Socrates, the new man working at the service station, Socrates and his disappearance? The focus on Socrates as mentor – and as guardian angel?

15. The motivational message of the film, selflessness, focus, reliance on a mentor?

ATTILA

US, 2001, 177 minutes, Colour.
Gerard Butler, Powers Boothe, Simmone Mackinnon, Reg Rogers, Alice Krige, Tim Curry, Jonathan Hyde, Steven Berkoff.
Directed by Dick Lowry.

Attila is a television movie about the famous leader of the Huns. It was produced in the atmosphere of the success of Gladiator (and in fact, in pirated editions in Malaysia, straight off the US Channel USA, it is called Gladiator 2). It is full of battles, scenes of Barbarian villages as well as scenes in Rome – all rather familiar, but enjoyable to see them.

Gerard Butler (Dracula 2000, Dear Frankie, The Phantom of the Opera) is a brawny Attila. There is a great number of British stars in small roles of support. The Roman Empire is represented by Powers Booth as Flavius, the general, and by a sinister Alice Krige as the emperor’s mother.

The film does give a focus on Attila, not just simply as the leader of the Barbarians and to be seen as enemy from the point of view of Rome. We see his childhood, his standing up to enemies, his being favoured by soothsayers in the kingdom, his rivalry with his brother, his desire to conquer, even Rome. However, the Roman General Flavius invites him to fight the Visigoths with him. Eventually, with complications in the Eastern Empire (with Tim Currie as the emperor), Attila then conquers the West, as far as Orleans in Gaul. However, he is poisoned by a slave girl whose family were killed in one of his invasions and who reminds him of his first wife. When the Roman general returns to Rome, he is ungratefully assassinated by the emperor.

A chance to get a bit of background, however television movie series style, of this aspect of the decline and fall of the Roman Empire.

1. Audience knowledge of Attila, the Huns? The Barbarians, the decline of the Roman Empire? The collaboration between the falling empire and the Barbarians?

2. Attila as a boy, his father’s death, his being asked to kneel, his getting the arrow and plunging it in the enemy’s leg, taking the horse, being pursued? His being welcomed by the chieftain? His uncle? His growing up, his friendship with the prophetic girl, her seeing him in visions? His transformation into a young man, the rivalry with his older brother?

3. The location photography, north-eastern Europe, Rome, Constantinople? The special effects, the battles and action, editing and pace? The musical score?

4. The portrait of Attila as a warrior, his training, rivalry with his brother, conquering the villages, sparing Incara, love for her? His ambitions to attack Rome? The visit of Flavius, the fight against the Visigoths? His going to Rome? His spreading to the Eastern Empire, the fear of Constantinople? His going towards the west, into Gaul? His taking Orleans, his having to retreat? The sinister behaviour of his brother, murdering their uncle, his defying his brother, stopping the coronation, fighting the duel to the death? His further conquests, his wanting to marry the new slave girl, reminding him of his wife, her poisoning him in vengeance? His lying in state, the heritage of Attila? (And the omission in this version of Pope Leo the Great stopping Attila from invading Rome.)

5. Flavius, in prison, his being freed by the mother of the empress, her conditions, wanting him to get rid of Attila? His being freed, his property restored? His foster daughter, and having taken her from the Visigoth king? His battles, his visiting the Huns, the negotiations with Attila, Attila’s going to Rome with him? His further ambitions, defeating the Visigoths? Killing the Visigoth king and spurring the Huns into action? The Visigoths leaving, the confrontation with the heir? His return to Rome, the murder of Attila? His own reception into Rome, the emperor giving him the laurel, stabbing him to death? The parallel between his career and that of Attila and their deaths?

6. The Huns, the uncle, warrior leader, favouring the two sons, favouring Attila? The son, the older brother, coronation, murdering the uncle, the fight to the death? The loyal general? Life in the Hun village, the slave girls, the wives? The prophet and her love for Attila? The duel with the brother and her feeling the arrows, her death? Incara, her getting to love Attila? The new slave, Attila in love with her, her changing, becoming empress, his mistaking her name for Incara, her killing him? The loyal general slitting her throat? Life in the Barbarian villages?

7. The contrast with Rome, the palaces, the leaders, the emperor, his wilfulness, antagonism towards his mother? His mother and her power, sinister, vindictive?

8. The role of the Barbarians, their expanding empires, incursions into the Roman Empire, the Romans not stopping them? The eventual takeover of the empire?

9. The decline of the Roman Empire, internal squabbles, lacking military strength, intrigues, the partnership with the Eastern Empire and the betrayals? The wilful Eastern Emperor, his assassins, the attempt to kill Attila and Attila letting the assassin go because of his obedience to his master? The rejoicing in Attila’s death? The survival of the Eastern Empire, the destruction of the West?

THE NATIVITY STORY

US, 2006, 90 minutes, Colour.
Keisha Castle Hughes, Hiam Abbass, Shohreh Aghdashloo, Ciaran Hinds, Oscar Isaac.
Directed by Catherine Hardwick.

The Nativity Story is a worthy enterprise that, by and large, comes off well. It is also a modest enterprise. It is to the credit of New Line Cinema that they were prepared to venture into this kind of religious film-making. Of course, the box-office success of The Passion of the Christ and the realisation that there was an audience for this kind of religious film was an encouragement. Screenwriter Mike Rich (The Rookie, Finding Forrester) has a church background and a respect for his biblical sources. Director Catherine Hardwicke (Thirteen, Lords of Dogtown) was an architect and production designer before her work as a director and she brings a detailed eye to sets and the re-creation of the era. She has brought a personal devotion to the enterprise as well as a female perspective to the story.

New Zealand actress, Keisha Castle Hughes (Whale Rider) fits the role of the young girl, Mary, very well – a bit stern at first but mellowing when Joseph accepts her. Oscar Isaac as Joseph brings him to life. The Iranian actress, Shohreh Aghdashloo is Elizabeth and the Israeli actress Hiam Abbass is the mother of Mary. The whole cast, quite international, performs with the same slightly accented English.

As has been noted, the screenplay is well-grounded in the biblical texts, both the heritage of the Old Testament as well as the text and spirit of the Gospel infancy narratives. This gives the film an advantage over narratives which limit the perspective to a literal reading of texts and rely on piety traditions for visual presentation. It has also been noted that the screenplay offers substantial historical background to understand Palestine in these times and how the characters were influenced by their environment as well as by the harshness of authorities.

As with the apocryphal gospels of the early Christian centuries, the film is imaginatively inventive concerning incidents not in the Gospels as well as presenting scenes which are. Nazareth was not an easy place to live in. The residents were poor and oppressed, especially by taxation. This had its consequences on work in the town, the fields and harvests, the making of basic foods and selling them, the work of builders and carpenters. This is the credible and realistic setting of the film. The other major invention is that of the journey from Nazareth to Bethlehem. This is a very pleasing part of the film, giving enough time for us to appreciate the hardships (lack of food, desert crossings, dangerous rocky paths, the swirling Jordan, the approach to Jerusalem with road blocks, wayside preachers, fortune tellers, the bustle of the city) as well as conversation between Mary and Joseph about the future.

When the screenplay uses direct texts from the Gospels as part of the drama, it is not so effective. They move too quickly. This is the case when Mary arrives at Elizabeth’s house and, barely, turning round Elizabeth utters the greeting verbatim from Luke and the acknowledgement of Mary as the mother of the Lord.

There are a lot of Magi sequences (too many) with more emphasis on the astronomy than on the Hebrew texts they also quote. Their differing characters provide touches of broad humour as well. On the other hand Ciaran Hinds is a sinister, egoistic and paranoid Herod – with a rather oily Antipas, his son, giving him sinister advice.

There will be some discussion about some of the visuals, especially the appearance of Gabriel. He is a voice only for Zachary. He is a swiftly place-changing physical presence to Mary (although the annunciation works quite well when it is filmed in close-ups of Mary and Gabriel in conversation). He appears briefly in Joseph’s dream. There is a bird motif at various moments representing the Holy Spirit that is sometimes too long and obvious. The star and the light shining on the crib is too static and Christmas card-like. The Silent Night ending seems a bit much but, on the other hand, it evokes memories of Christmas for the audience.

The appeal of the film is to the Christian audience which should welcome it – with the hope that it will have a wider appeal to non-Christians.

1. A popular biblical film? The range of audience? Worldwide? A 21st century biblical film? Religious message?

2. The film as a biblical drama: settings, the quality of the screenplay and invention of dialogue for the characters, the relationship to the biblical texts? The grounding in the Jewish scriptures? The re-creation of Nazareth and Bethlehem? Herod and his ambitions, the relationship with Rome, taxes? The Magi and the east, astronomy? The life of the shepherds? The background of the infancy narratives of Luke and Matthew?

3. The film within the biblical film tradition, similarities with other biblical epics, differences?

4. The audience interpretation of the story: naturalism, realism, mythical aspects, legendary elements, facts, characters and events enhanced? The historical emphasis compared with the religious and the thematic emphases?

5. Authentic settings, the re-creation of Nazareth, Ain Karim, the Sea of Galilee, the Jordan, the mountains and the desert, Jerusalem and the city, Bethlehem?

6. The musical score, the Advent hymn during the opening credits, the finishing with ‘Silent Night’?

7. The use of Old Testament texts: Elijah and God’s presence in the gentle breeze, the opening quotation from Jeremiah, the preacher on the street and his quoting Isaiah, the discussions about Micah between Herod and the Magi?

8. The Herod story: the setting, the opening with the slaughter of the innocents, the flashback, the profiles of Herod, his son Antipas? Herod’s growing paranoia, the prophecies, his not wanting to underestimate them? The significance of taxes? His building the palace, the pools, the walls of gold? The encounter with the Magi? The slaughter of the cow as the scapegoat image? The census, Bethlehem and the potential Messiah travelling there, using the census for his own purposes? Expecting an adult? Discovering the Messiah would be a child, his fear, the massacre? The sinister advice of his son, of the soldiers? Herod as a character?

9. Zechariah and Luke, chapter 1, his going to the temple, the ritual in the temple, Elizabeth accompanying him, the vision of Gabriel, the voice, the promise of the child, his being struck dumb? His going out to the people? At home, Elizabeth pregnant? Mary’s visit, Elizabeth’s joy, giving good advice to Mary, the three months passing, the experience of the birth of the Baptist?

10. The portrait of Mary, her age, a young girl in Nazareth, sowing in the fields, the chatter with the girls, the others flirting? Joseph and his attraction towards her? The poverty at home, the cheese and the milk, the deliveries, listening to the lesson about Elijah? The tax collectors, the girl taken away, her mother hiding her in the house? Her father and the taking of the donkey? Joseph and his buying back the donkey? The meeting for the betrothal? Her being upset, sitting under the tree, the experience of Gabriel, the Annunciation and her acceptance? The context of messiahs arising in Palestine and her understanding this? At home with the family, the crowded sleeping quarters, the meals? Her decision to go to Elizabeth? The promise to her parents, accompanying the family? Her arrival, Elizabeth’s greeting? Her pregnancy? Her time away with Elizabeth? Her maturing?

11. The return, having promised to come back, Joseph and his joy, the young girl fingering the pregnant Mary? The reaction of the girls, the people in the town? The negative reactions? Her life in the town, Joseph and his bewilderment, his friends? His dreaming about her being stoned? The angel, his acceptance? Peace between Mary and Joseph, her relaxing, her love for him, his care for her? The promises about the baby?

12. The census, Joseph having to go to Bethlehem, Anna thinking that Mary would find it too difficult, Mary deciding to go? The planning, leaving the town – and the humour about people missing them? The detailed travel, eating the fish by the Sea of Galilee, the donkey paths and the mountains and the donkey slipping, the river and Mary losing balance and Joseph rescuing her? Their ordinary talk, the planning about Jesus’ life, whether he would learn from them? The discussions about food, the hungry donkey, Joseph saving the food for the donkey? Arriving in Jerusalem, the encounter with the fortune teller and her misinterpreting Joseph’s role? Seeing the preacher? The bustle of the city? Getting to Bethlehem? Trying to find a place?

13. The Magi, their astronomical studies, looking at the Hebrew biblical texts, the humour of each of the characters, their interactions, their discovery that the star and the coinciding of the planets was near, the plans, their travel, going to Herod, the discussions, going to Bethlehem, the offering of the gifts?

14. Mary and Joseph meeting the shepherd, their discussions with him, the other shepherds, coming to the crib?

15. The presentation of the Nativity sequences, more like a pageant, the light coming from the star? The animals in the stable? The birth of Jesus, Mary and Joseph? The visitors?

16. Herod and the massacre, the voice advising Joseph to go to Egypt? The scenes of the travel to Egypt? The voice-over of Mary and the Magnificat? Moving into ‘Silent Night’?

17. The film offering the possibility for the understanding of Mary as a person, in her historical and spiritual context? Joseph as a person, his decisions and his care of Mary and Jesus? The film offering understanding and inspiration?

BREAD AND ROSES

UK, 2000, 110 minutes, Colour.
Pilar Padilla, Adrien Brody, Elpidia Carrillo.
Directed by Ken Loach.

Bread and Roses is Ken Loach’s only film to be made in the United States. During the 1990s he made Carla’s song which was filmed in both Scotland and Nicaragua.

The film is very much in the vein of Loach’s political films. It focuses on illegal immigrants into California, their hardships, their being exploited, their getting poor jobs especially as poorly-paid janitors in skyscrapers in Los Angeles.

The film was based on fact, demonstrations and protests by the janitors in 1990 (with footage from these demonstrations as well as some of the janitors themselves acting as extras in the film). The film focuses on a young woman, Maya, who slips into the United States, is exploited by the migrant merchants, escapes, lives with her sister, gets a job as a janitor. She is played by Pilar Padilla – a very persuasive and credible performance. Elpidia Carrillo is her sister. The high point of the film is a confrontation between the two sisters: Maya accuses Rosa of betraying the union protests to the authorities and to the police. Rosa then gives the background to her time in America, her having to act as a prostitute to send money back to the starving family in Mexico. It is a fine dramatic sequence.

Adrien Brody, who had appeared in The Thin Red Line, is the chief organiser for the unionists. He was soon to appear in Roman Polanski’s The Pianist and win an Oscar for best actor in 2002. He has appeared in The Jacket, Hollywood Land, The Village.

Ken Loach has directed hard-hitting social-themed films for four decades. Highlights of his career include Kes, Family Life, Ladybird Ladybird, Raining Stones, Riff-Raff?, Land and Freedom, My Name Is Joe, The Wind That Shakes The Barley.

1. The impact of the film? Ken Loach and his social concern, justice, causes? The critique of capitalism? Support of the unions?

2. Loach in the US? His Scottish screenwriter, Paul Laverty, the British perspective to these American situations? Their critique, their insights?

3. The film as factual, illegal immigration, the status of the illegals, their being used, their lack of rights, the exploitation, the janitors’ protest in 1990, the TV footage shown?

4. Los Angeles and its neighbourhoods, downtown, the poor homes, Century City, the streets, authentic? The musical score and songs? The prologue: the Mexicans getting across the border, their having to hide, the dark of night, herded into the van? The different types? The managers, their taking the money, delivering the migrants? The sexual exploitation? Maya and her escape?

5. Maya in herself, having to migrate, leaving the family behind in Mexico? Relying on Rosa? Rosa not being able to pay the demands, the sexual harassment, Maya’s escape? Her job, working as a janitor, her friendship with the other workers, the details of work, life? Her friend Ben and his wanting a scholarship? At home, the social life, songs and dances, her brother-in-law and his collapse? Rosa having to care for him, payments? Perez at the building, his harshness, firing people? Sam and his assistant, their speeches? The Russian woman and her fears? Agreement with Sam, the demonstrations, Perez and his conferring with the authorities? The threats, the bribes for the woman to give information? The demonstrations? The rights, the charter, Perez not understanding it? The right to free time, eating? Maya at home, with Sam, the attraction, the party, the kiss? The discussions with Ben, his love for her, her not being able to love him? The build-up to their demonstration, the plan, the party, the intrusion? The guests? The final demonstration in the streets, Rosa betraying them? The attack of the police? Maya and her confronting Rosa, the dramatic impact of their argument, Maya and her grief in learning of what Rosa had to put up with? Her going to jail, her stealing the money from the service station, the fingerprint, the interrogation, in the cell? Winning the case, her being returned to Mexico, her being dealt with leniently, looking out the back of the bus at Rosa?

6. Sam, white and affluent, his job, his assistant? The company and his employment, arguing with his friend? The meetings, his speeches, his drawing – and his carelessly throwing it away and its being given to Perez? The issues of justice, firing, unionism? The demonstrations, his going to the restaurant, confronting the capitalist, eating his food? The plan for the party, infiltrating, his speech? The reaction of the guests? The final demonstration, the attack of the police, being in jail, winning? The attraction towards Maya? Her going back to Mexico?

7. The janitors, their lives, the men and the women, especially the women, their age, experience, poor wages, needing the money to survive? The hard work? Security and their jobs? The bonds between them? The Latin Americans? The Russian woman and her being an outsider?

8. The bosses, the ownership of the buildings, management, relying on authorities like Perez, his demands, brutality, sexual exploitation of Rosa for Maya’s job? The demonstrations, the party, the guest film stars and their presence supporting Loach? The speeches?

9. Rosa, her welcoming Maya, her husband, the children? Life in Los Angeles, her husband’s collapse? Hospital? The build-up to the scene between the two, Rosa and her point of view, giving the information? Her telling Maya the truth about her life in Los Angeles?

10. The ending, the janitors in jail, the phone calls and the winning of the case, the payments? Getting out? Maya in the bus, Rosa following?

11. The illustration of political and justice themes via story rather than preaching?

ROCKY BALBOA

US, 2006, 105 minutes, Colour.
Sylvester Stallone, Burt Young, Milo Ventimiglia, Geraldine Hughes, Antonio Tarver, James Francis Kelly III.
Directed by Sylvester Stallone.

A surprise. After Rocky first ascended those steps in Philadelphia to Bill Conti’s now classic fanfare and theme back in 1976, he now returns to prove that he is still alive, that life is worth living and to exorcise his inner ‘beast’, his demons, and move to the next, more peaceful, stage of his life journey.

Sylvester Stallone has not been able to let go of Rocky Balboa and, on the evidence of his new screenplay, Rocky has not been able to let go of Stallone. Their lives parallel each other. And one can only wish for great success for this film, released at a time when Sylvester Stallone has reached sixty.

In interviews, Stallone has been very candid about his life and career. He acknowledges the effect of his early successes, especially the Rocky and Rambo series: a man who grew up poor then achieved all that could be desired in terms of career, reputation, marriage, wealth and comfort. But, he admits, it went to his head and he experienced some chaos in his personal life as well as a deterioration of his career. He had to go back to his roots, his Christian roots and rediscover values and authentic meaning for his life.

This is what happens to Rocky Balboa – although his character seems to have made a better fist (and fists) of his life than his creator. Rocky is now grieving the death of Adrian (and Stallone has written quite tenderly of this marriage love and commitment). He runs a successful restaurant, well patronised, where he recounts his tales of the ring to eager customers who also want a photo opportunity. He loves his son who feels that he has been overwhelmed by his father’s reputation and lives in his shadow. Paulie is still his close friend.

In his late 50s, Rocky still has the urge to fight another day. TV pundits speculate how he would have fared had he fought a bout with the current world heavyweight champion – and they provide a computer game to illustrate this. A challenge for an exhibition fight is offered. It is a redemptive challenge for Rocky. Is it wishful thinking? Is it his ego? Has he the physical stamina to endure? And so, with great feelings of nostalgia for the Rocky movie fans, the training (adapted to his age and condition) begin again.

After this, the training and bout are very much for boxing fans. Others will look at the punishing fight more as the will of a warrior striving for victory with his talent.

The screenplay, as with the other Rocky movies, is by Stallone himself. This is quite a literate screenplay considering that Rocky himself, unlike the real life Stallone, is rather inarticulate: ‘Yo, Paulie!’. And it is not without some humour and pleasant self-mockery. Needless to say, Stallone does justice to the performance.

Burt Young is back as an older and scruffier Paulie. Talia Shire appears in photos and flashbacks to the earlier films as Adrian. The supporting characters this time are Robert Balboa – with some effective scenes between father and son, frankness in resentment and reconciliation. ‘Living in my shadow is not an excuse for blaming someone else for underachieving.’

A local woman and her teenage son provide an outlet for Rocky’s kindness and warmth and friendship in return.

There are some specific Christian references and images indicating Stallone’s own spiritual journey.

1. The popularity of Rocky? His impact in 1976, the year of the bicentenary? The subsequent sequels? Rocky after thirty years? Audience expectations?

2. Sylvester Stallone, his screen image, Rocky and Rambo, his personal life, story and career? The parallels? The appeal of the film for the older audience remembering the Rocky films? Interest for younger audiences?

3. The boxing context, Rocky’s career, the stories, his image, the past? The new heroes? The boxing champion, Mason Dixon, his tough attitudes, knockouts? A setting for the build-up to the confrontation between Mason Dixon and Rocky? The TV simulation and Rocky winning?

4. Rocky as a fighter, a fighter being deeper than merely a boxer? His drive, talent, the beast within, his reference to the feelings in his basement, his inner self? Possibilities, the challenge, the exhibition bout, Las Vegas? The collage of his training, Bill Conti’s music, the Rocky theme and fanfare? Rocky at fifty-eight, the information about his physical disabilities, strengths, psychological?

5. The build-up to the bout, the ten rounds, Mason Dixon and his attitude, his entourage, the managers? The encouragement? The initial knockout, audience reaction to his character? Rocky and his fighting, skills, being knocked about, knocked down, getting up again, his entourage? The support of his son, of Marie? Her son? His surviving the ten rounds, the split decision, the acclaim at the end? Mason Dixon winning, Rocky’s personal achievement?

6. Philadelphia, the ordinary neighbourhoods, the rough neighbourhoods, Rocky at the cemetery, his restaurant, the buildings and Robert at work, the streets, the seasons? Bill Conti’s score? Its familiarity, emotional impact?

7. The title, seeing Rocky as a Balboa, as a person, his age, the experience of Adrienne’s death, his memories of her, the flashbacks? The cemetery, his talking with her, the chair? Hiding it in the tree? The anniversary, Paulie accompanying him, Paulie feeling that he couldn’t do this any more? Going to visit Robert, Robert’s comments about his father having him in his shadow? The various visits to the grave? The encounter with Marie, memories of her as a young girl, the taunts in the bar, the confrontation in the bar, in the street? Accompanying Marie home, her story, Steps as her son? Mixed race? Rocky and his interest, the visits, offering Steps a job? Persuading Marie to come and work at the restaurant? Paulie, the friendship, his arrival at the restaurant, his having been sacked? Rocky and his talking to the customers, telling them the stories? The possibilities for the fight, the visit of the promoters, the press conference?

8. Rocky’s inner journey, going down, coming up, his inner life, the bout, Robert and his comments about his father’s ego?

9. Marie, her past, as a character, genial, in the bar, her love for her son, her going to work at the restaurant, taken aback with Paulie? In the group going to Las Vegas, her visit to Rocky, supporting him?

10. Paulie, his age, accompanying Rocky to the cemetery, his skill at his work, his suddenly being fired, his reaction, with the gift of the meat instead of a watch, the decision to help Rocky with the training?

11. The trainer, the advice to Rocky, his physical condition and limitations, his exercise?

12. Robert, living in the shadow of his father, with his friends, watching the television simulation, talk, his not achieving aims in life? His giving up? The confrontation with his father, and the visit to the restaurant, the talk in the street, Rocky’s straight talk, telling him not to blame others for his lack of achievement? Robert’s going to cemetery, his working with his father for the bout, at the ringside?

13. Themes of grief, anger, loneliness, age, fighting and achievement?

14. The finale at the grave, Rocky at peace, the chair not being there, his disappearance – like an ascension to a new place?

15. The popularity of Rocky for thirty years in the 20th century? A hero for the 21st century?

THE MAN IN THE IRON MASK

US, 1998, 132 minutes, Colour.
Leonardo di Caprio, Jeremy Irons, John Malkovich, Gerard Depardieu, Gabriel Byrne, Anne Parillaud, Judith Godreche, Edward Atterton, Peter Sarsgaard, Hugh Laurie.
Directed by Randall Wallace.

Alexandre Dumas' tale of the ageing Musketeers and the legend of Louis XIV's twin brother has been filmed many times. While there is some swashbuckling action for the film's climax, the treatment here is more serious than previously.

For older audiences there are fine performances from Jeremy Irons as an ascetical, clerical Aramis, Gerard Depardieu as a bawdy, buffoonish Porthos, John Malkovich as an intense Athos and Gabriel Byrne as the sincere protector of the King, D'Artagnan. For the younger audiences, there is Leonardo di Caprio playing an arrogant king as well as his kinder brother.

Sumptuously filmed in France, the themes of government, justice and integrity are to the fore, a more intelligent treatment than merely matinee entertainment. It is only the irritating array of multi-national accents that jars. Spectacular and serious.

1. The popularity of the Dumas story? History, intrigue, action, spectacle? A serious swashbuckling story?

2. The perspective of the 1990s, a more serious approach, the strong cast, the use of French locations, the emotional score, values?

3. The re-creation of 17th century France, the palaces, exteriors and interiors, homes, streets, the rivers, the dungeons? Authentic atmosphere?

4. The Three Musketeers and their popularity of the past, D'Artagnan being young? Their work, loyalty to the Crown, to the queen? Ideals? Their being older, their disgust with the new king, the ordinary lives they led, Athos and his son, Aramis as priest, Porthos and his hedonist life, D'Artagnan and his loyalty? Their losing contact with each other? Their private hopes, love for action, vision of death? All for one and one for all?

5. The initial focus on D'Artagnan, in the streets of Paris, seeing the fights, the riots, the people complaining about the food, starvation, rotten food, the role of the king? Being with the king, training the Musketeers, his loyalty to the queen, love for her? His observing Christine and Raoul? Going to Athos, the promise to save Raoul? The regrets, his character, in action, the information about Philippe and not knowing it, his past relationship with the queen? Athos and his anger about Raoul’s death, D'Artagnan letting him go? The plan with Philippe? His seeing the impostor, the revelation of the truth, the truth about Louis? His reaction against Louis, fighting with the Musketeers, taking the bullet for his son? The end and his funeral?

6. Louis XIV, his later reputation, Dumas taking the story of the Man in the Iron Mask and linking it to the monarchy? Speculation? His age, arrogance, his love of fashion, his whims with his advisers, listening to them, condemning them to death, the issue of the rotten food, his knowledge of the riots? His eye on Christine, the seduction, knowing that she was with Raoul? The assassination attempt and his being shaken? D'Artagnan saving his life? Sending Raoul to the front, his lies? The seduction of Christine and her reaction? The revolutionaries? The ball, his fears as he saw the iron mask? His being taken, afraid, the truth about Philippe, his condemning him? His anger, D'Artagnan shocked, his imprisoning Philippe again, the final confrontation after following D'Artagnan, the fight, his becoming the new prisoner in the iron mask – and the epilogue saying that he was released and freed to live his life out in the country?

7. Philippe, the glimpses of the prisoner in the iron mask, the background of his story, Aramis and his role, guilt, the twins, Aramis and his plan to bring Philippe back, the boat and his being disguised as a friar, taking in the dead body, the plague, smuggling Philippe out of the dungeon? The Italian style, confession? Philippe as nice, deferential, learning his identity and the effect, the details of the training, his clumsiness, with Athos, Athos becoming a father figure, his wanting to take Raoul’s place? The pressures, the time? The actual substitution, his mother knowing the truth, his helping the falling lady, his exit, D'Artagnan’s suspicions, the confrontation from Christine – and the pathos of her death? The fight, his being imprisoned once again, the escape, fighting with the Musketeers? His taking his place as the king? The imprisonment of his brother, his later freeing him? Leonardo di Caprio making differences for each of the roles?

8. Raoul and Christine, at the palace, the king and his bedding the women, the decision to seduce Christine, the assassination attempt, Raoul and his going to the army, his loyalty and integrity, the battle, the letter for Christine, his death? Christine receiving the news, Athos and the letter? Christine and her confrontation of the king at the ball, her suicide?

9. Aramis, serious, priest, at prayer, his criticisms of Porthos and his hedonism? The interview with Louis, the commission to seek out the head of the Jesuits and kill him, the irony that he was that person? With Athos, the plan, the discussions with each of them, his past, confessing his guilt, his leadership amongst the Musketeers, his sardonic humour? His guilt, going to action, keeping the uniforms, being ready for the final confrontation?

10. Porthos, with the women, his drink, contemplating suicide, wanting action, arranging the costumes for the release of Philippe, his wanting action, his attempts at suicide – and Aramis sawing the beam? His dealing with Philippe?

11. Athos, his age, love for his son, his anger and disgust with the king, the confrontation with D'Artagnan, the news of Raoul’s death, the attack at the palace, D'Artagnan letting him go? His willingness to be part of the plan, helping in the action, teaching Philippe, seeing him as his son?

12. The queen, her place at the court, sad, her love for D'Artagnan, meetings with him? The formalities and reserve? The news of the twins, her learning the story, meeting with Philippe, going to the ball, the love between mother and son?

13. The court, the pomp, costumes, décor, the gardens, the masked ball, the dancing, the advisers – and their being executed at whim?

14. The ordinary people, their hunger, the attack on the Musketeers, the riots? D'Artagnan and his powerful speech, persuading them to hold back? The Musketeers’ assistant, Lieutenant Andre, his loyalty to D'Artagnan, his learning the truth about Louis, his collaborating in Louis’ imprisonment?

15. The build-up to the confrontation, Philippe and the substitution, the Musketeers and the rescue, the fight, the truth, the fierce attack on them and their survival, their loyalty to the king, becoming his advisers?

16. The subsequent reign of Louis XIV as the Sun King?

ASH WEDNESDAY

US, 2002, 98 minutes, Colour.
Edward Byrnes, Elijah Wood, Rosario Dawson, Malachi Mc Court, Oliver Platt, James Handy.
Directed by Edward Byrnes.

The prologue of this film takes place on Ash Wednesday evening, 1980, in Hell's Kitchen, New York. A young man overhears thugs planning to kill his brother. Instead, to save his brother, he kills them and has to flee the city, his brother and friends making out that he is dead and his body washed up from the river.

The main action takes place on Ash Wednesday, 1983, when the brother returns home and is sighted. His brother and his local boss want to keep it quiet. Feuding family members want vengeance. His wife does not know that he is alive and has been in a relationship with his brother. It's a very busy day.

Nevertheless, most of the characters seem to be able to get to Mass. The ashes are displayed on their foreheads quite conspicuously. They are all part of the Irish Mafia of this part of New York City, with codes, loyalties and vengeance as strong as in the Italian Mafia not all that many blocks away.

The film was written and directed by its star, Ed Burns, who made an impact with his feature debut, The Brothers Mc Mullen. He has stayed with the New York he knows best in his subsequent films, She's the One, No Looking Back and Sidewalks of New York. Perhaps the trouble is that he knows them so well and re-creates them in such detail that his absorption in his city and his characters does not excite wide audiences so much, unless they are in the know or have a personal investment in the place or, as here, in the spirituality behind the celebration of Ash Wednesday. Burns relies on audiences recognising the ashes (and has a Church sequence) and knowing that we are dealing with sin, repentance and salvation and that this underlies the behaviour and decisions of the central characters, one of whom is the local priest (James Handy).

Elijah Wood plays the younger brother and Rosario Dawson his wife. Writer Malachy Mc Court plays the Irish boss. An insider's view of New York.

1. Edward Byrnes’ films? Their particular locations? Point of view? New York stories, the sidewalks of New York?

2. Hell’s Kitchen, the locations, the atmosphere, the 1980s, homes, bars, church, streets? The musical score?

3. The title, the beginning of Lent, penance for sin, the distribution of the ashes in the church, Catholics with the ashes on their forehead? Penance, the focus on the person of Jesus, forgiveness? A sign of hope? The visualising of ashes and prayer?

4. The prologue, the visuals, Francis Sullivan, the bar? The discussions, hearing the sounds, the arguments, the shooting, the consequences?

5. The transition to 1983? The focus on one day? Francis Sullivan’s day? The memories of his father? Whitey and the information? The accusations, the rumours, denials, Grace and her situation, the death of her husband, at least her believing this? Her relationship with Francis?

6. The uncle and being on the take? Sean, his disappearance, his decision to return? Whitey and his dominance? Moran and his role?

7. Brooklyn, the shooting, getting Sean away, the bar and the shooter, the massacre? The morning after?

8. The character of Whitey, his dominant presence, the Irish background, in the bar, his role with the Irish Mafia? His way of doing things? Holding court, orders, deals?

9. Moran, the henchman, the plans, being defeated, the exception, bringing in the shooter?

10. Grace, her life, her relationship with Sean, being a widow for three years, the relationship with Francis, her experience? The contrast with the former girlfriend?

11. The two brothers, the credibility of Elijah Wood as Sean? His behaviour in 1980, his being caught, trapped, the escape, the cover-up? His decision to come back, the effect on everybody’s life? The further dangers? The shootings – and the resolution on Ash Wednesday?

12. The religious dimensions, the specifically Irish Catholic dimensions, iconography? Giving a tone and some theological meaning to the events?

ADAM AND PAUL

Ireland, 2004, 83 minutes, Colour.
Tom Murphy, Mark O’ Halloran.
Directed by Leonard Abrahamson.

The Irish are prolific users of what has been called the ‘multi-purpose’ f word. We might remember it from The Commitments and more recent stories of terrorism. It is a dialogue staple of Adam and Paul.

It starts as one of those offbeat comedies with two seemingly hopeless junkies wake up and wander Dublin, getting into trouble, seeing their mates, looking for a score and generally messing up. But, after a while, thoughts of Samuel Becket and Waiting for Godot, tramps and existential conversation, come to mind and we begin to respond to the underlying humour and humanity of this very odd couple.

Mark O’ Halloran, the writer (who also acts as the taller tramp – we don’t know who is who as everyone greets them as Adam and Paul) says he also had Laurel and Hardy in mind as a model for the interdependence and the comic routines. Because of the picaresque adventures that are one minute warmly laughable and the next moment disconcerting (just as we begin to like them, they harass and rob and nice Downes syndrome young man at a bus stop).

This is a contemporary Irish yarn of the homeless and the druggies, the cons and the pubs – a comic-serious reflection on ‘Such is Life’ with a touch of blarney.

1. A popular Irish film? Yet an oddball impression of Ireland and Dublin? Irish lifestyle? The 21st century and drugs? Irish humour, comic personalities? The serious aspects? Audience sympathies? The overall impact – and the film winning many awards?

2. The tradition of Samuel Beckett, his theatre, Waiting for Godot? The film-makers acknowledging their debt to Lauren and Hardy? The juxtaposition of events for comic and serious effect?

3. The Dublin settings, the streets, the houses, the police stations, flats? The structure of the day in Dublin? The landscapes, the fringe of Dublin? The working-class areas? Non-working-class areas? The drug world? The musical score?

4. The title, the focus on Adam, on Paul, their relationship, dependency?

5. The day and the events, Adam and Paul as homeless? Intelligent or not, using their wits? Nice or not – and the audience unable to anticipate their behaviour, humour, seeming friendly, and then exploiting people? The drug world – and the possibilities of death?

6. The cumulative effect of all the incidents, the coat and the mattress, the shop and the bread, the milk and the Bulgarian, Martin and the drugs, the beggar, the injuries, the excrement, the episode with the baby and Janine, the baby and responsibilities, care for the baby? The Downs Syndrome boy, the brutality? Robbing him? The issue of the television, finding it, stealing it, breaking it? The inefficient robberies? The bunker, the mother? The cigarettes and being sent off? The drugs and the fall, the night, death? The end and cigarettes? The overall impact?

7. The characters of Adam and Paul, their age, experience, not having their background, their friendship, Janine, issues of drugs, death, smart or not, who was the leader, the language and reactions to their language, their hurting people, ability to survive or not? Issues of luck?

8. The portrait of the Bulgarian, his being in Ireland, the background, issues of migrants and the European Union and Ireland’s place? The milk?

9. The character of Janine, the baby, relationships, the dangers with the baby?

10. The drugs, the drug dealers, the prevalence of drugs in Dublin, the drug culture?

11. Stealing, fencing goods, the television, the humour of going to the room to get the television, getting it down the steps, transporting it, the man fencing it – and the breaking?

12. The background gallery of characters, Clink, the beggars, people in the pub, the other addicts?

13. An entertaining experience – wry humour, Irish humour, social comment and critique through satire?

FATELESS

Hungary, 2005, 140 minutes, Colour.
Marcel Nagy.
Directed by Lajos Koltai.

Another perspective on the war is found in Fateless, this time from Hungary. It is based on the autobiography of the 2002 Nobel Prize winner for literature, Imre Kertesz who has written the screenplay. It has been directed by Lajos Koltai who has worked as cinematographer on many American films.

Here he has opted for very muted colour, almost black and white until the final scenes of the liberation of the camps. He has also opted for a vignette style of film narrative. This quite long film is composed of a series of incidents where the audience has to make the links. There are measured fadeouts for all these vignettes which creates an impression that we are watching a photograph album, an album of moving photographs.

The drama relies almost solely on the performance of the young actor, Marcel Nagy as Gyuri. A teenager in Budapest 1944, he sees his family rounded up by the Nazis and finds himself arrested on a bus and soon aboard a train for a brutal, waterless journey to Poland. He is chosen for hard labour and moves to several camps. We assume that he is going to be some kind of hero-survivor. In fact, a compatriot who has been imprisoned in the Ukraine for several years tries to instil in him the will to live and to self-esteem. But he is a boy. The work is gruelling. He is perpetually hungry. The Nazi guards torment the prisoners, especially with long periods of standing in rows. Black marketeers are ready to profit from the constant hunger. He does not see himself as a hero. It is a miracle that the boy survives, only to return to a city without his family and where life has resumed with seeming indifference to the victims.

This is no easy entertainment and audiences have become familiar with Holocaust suffering through documentaries, testimonies and fictions like Sophie’s Choice and Schindler’s List with which this film has much in common. But this is an unvarnished Hungarian witness to human cruelty and suffering.

1. A Hungarian film examining the Hungarian past? The Jews and the prisoners in the concentration camps? The perspective of sixty years? The continual need for this kind of film? For Europeans, Hungarians, Germans?

2. The Hungarian production, the perspective, the truth of the story, the Jorgy story? The novel by Imre Kertesz, the screenplay and adaptation? A portrait of the Jews in Hungary in the 1940s?

3. The use of the wide screen, the drained colour, the light, the true colour returning at the end with liberation? The pathos of the ending? The musical score, the songs?

4. The tradition of Holocaust films, Shoah, Schindler’s List, Sophie’s Choice …?

5. The title, the Jews and their fate, their despair and lacking a sense of fate?

6. The focus on Jorgy, entering the film with him, identifying with him, sharing his experience, learning? The shock of what happened to him? His journey, the camp and life in the camp, his friend, suffering, work, hungry, his illness, the end and his liberation?

7. The aftermath, the freeing of the camps, the prisoners freed, the trucks, Dresden and revenge, Budapest in ruins? The sacking of the house, his friend? On the tram, people’s reaction, petty difficulties? The hurt after such experiences in the camps?

8. Jorgy’s family, the father and the sales, getting the jewels, wearing the star, at school, the authorities, the relatives, the meal, the neighbours, Jorgy’s mother and grief?

9. Jorgy, taken from the family, put in the group, the train, the long experience of the days without water, at the border, the guards? Desperation for water?

10. The arrival in the camp, his age at sixteen, his having to make choices, going to the camp?

11. The picture of hard labour, the rocks, carrying the rocks, the exhaustion, the physical toll?

12. The punishments in the camp, having to stand, being slapped, the humiliations?

13. The meagre food, the soup, bits of meat, the importance of the black market and the deals, the supplies, people and their being forced into using the black market?

14. Solidarity in the camp, help, the building of morale, the ethos, the goals, the group carrying Jorgy?

15. Jorgy’s friend, the background of the Ukraine, the songs, the memories, the assistance, the importance of self-esteem?

16. The boy, the rope, food, the knee, the collapse, the doctor, the dead boy, the infirmary?

17. The religious aspects of the film? The Jewish background? How important in the camps?

18. The screenplay and the succession of vignettes, the cumulative effect, the use of fade-ins and fade-outs? As if the audience was watching a moving photo album?

19. The portrait of the Germans, the guards, the brutality, the food, the chimney labour, the SS and the end of the camps, the liberation, the SS members hiding? The Americans, the liberation – and the future?