THE PRESTIGE

US/UK, 2006, 130 minutes, Colour.
Hugh Jackman, Christian Bale, Michael Caine, Scarlett Johansson, Rebecca Hall, Andy Serkis, Piper Perabo, David Bowie, Roger Rees, Ricky Jay.
Directed by Christopher Nolan.

A puzzling title. But that is not a problem for a film about the mysteries of magicians and the fascination they hold for audiences.

As the film opens, Michael Caine, as a veteran engineer of magic acts and an entrepreneur, explains what is involved in this kind of theatrical display of magic. (It is interesting to note that David Copperfield acted as an adviser for this film.) The first part of any act is called The Pledge. This sets up the situation and the mechanisms that audiences can see. After this comes The Turn. This is the core action of the trickery, for example, the sawing in half of the assistant, or the disappearance of a bird, a rabbit or a person. But, Caine goes further and says that the third part is The Prestige. This is where a magician achieves his reputation and prestige. While the audience is on tenterhooks, the safety of the person seemingly in peril is assured. A mixture of admiration and relief.

This is a long and rather intricate film as befits the plot. It is set at the end of the 19th century in London (with a trip to the spectacular mountain scenery of Colorado Springs). It is one of those wonderful films which absorbs audiences simply by admiring the re-creation of the period, décor, sets and costumes. It is the turn of the century, the end of the Victorian era and the beginning of Edwardian times.

The central characters are two magicians. It is important to note that the film opens with the seeming accidental death of one of them and the other accused of his murder. This is a setting for all kinds of flashbacks (and flashbacks within flashbacks) which are the cinema equivalents of a magician’s sleights of hand. It means that one has to pay attention all the time, looking and listening for clues. As audiences leave the cinema, they will be checking whether they have really understood the final moment.

The two young magicians start off their careers together as Caine’s plants in the audience. When there is an accidental drowning of one of the magician’s wives, a bitter rivalry arises between the two. Not only do they try to imitate each other’s tricks, they spy on each other and steal secrets. They also grow more violent in their mutual jealousy.

This makes for tantalising drama, especially as we keep returning to the magician in prison and his facing the death penalty while we follow the other in his journey to the US to consult the maverick scientist, Nikola Tesla, in the hope that he will build him a fantastic box for transporting a man from theatre stage to balcony.

The film was made by British Christopher Nolan who has shown that he has great cinematic flair and a penchant for not telling stories in a straightforward narrative. His early film, Memento, actually went from end to beginning as a man with amnesia tried to trace what had happened to him. He directed the thriller Insomnia and revitalised the Batman series with Batman Begins.

Nolan’s Batman, Christian Bale, shows how versatile his acting is as the magician who lacks charisma, a more brusque and violent personality. Hugh Jackman, by contrast, is all surface good looks and charm as his rival (and has a chance to show his acting ability by acting as a character who serves as his magic double.) Scarlett Johansson is an assistant to both magicians.

There is further interesting casting with Andy Serkis (whom we all saw as Gollum) as an American assistant to Tesla, a surprisingly dignified David Bowie.

This film has more appeal to older audiences who enjoy a thoughtful drama. At the same time, another film about magicians was released, The Illusionist, with Edward Norton and Paul Giamatti.

1. The quality of the drama? Characters? Intrigue? A drama of magic? Of style? The sleight-of-hand in the narrative? Film as an illusion?

2. The 19th and 20th century settings? The Victorian era, Edwardian era? Period London, homes and streets, poor homes, affluent? The pubs, the theatres, the warehouses? An authentic atmosphere? The atmospheric score?

3. The contrast with Colorado Springs, the Rocky Mountains, the seasons, the hotel, the countryside, the plant for Tesla’s experiments?

4. The explanation of magical tricks: the role of the pledge, the role of the turn, the role of the prestige? The film structure following these three acts?

5. The style of the film, structure, the opening and the tableau of the top hats on the ground? The advice and challenge as to whether the audience was really watching? Cutter and his explanation to Jessie of the three acts, this being important for audience information, appreciation? The time shifts, the death of Angier, Borden present, the court case? The flashbacks to their lives as young magicians, the building up of the rivalries, the flashbacks to different aspects of their lives, to Angier’s visits to Colorado, the return to Borden in prison? The end and the repeating of the drowning sequence? The prestige at the end?

6. Audience emotional response to the characters, their rivalries? Angier and his charm, Borden and his sullen approach? Their performance in the shows, the reality behind the scenes, their rivalries, the violence and their suffering, the growing brutality, the tricks, the end – and audience response to each of the two men finally, shifts in sympathy between Angier and Borden?

7. The quality of the screenplay and its writing, the clues playing fair with all the detail? Sufficient for the audience? Yet the screenplay directing audience attention away from particular characters and events? The prestige at the end?

8. Michael Caine as Cutter, as focus for the story, providing the framework, the explanation to Jessie? His presence at Angier’s death? His testimony in the court and his bitterness towards Borden? The discussions with the judge, the revelation of secrets, seeing the machine, his comments about the machine? His apprenticing both magicians? His work with Julia, the timing for her being in the tank, his trying to save her? His role as an entrepreneur, his explanation of himself as an ingeneur, building the material for the acts? His bookings, Angier and his helping him? Testing him about the birds and their deaths, Borden and his intervening, the woman and the injury to her hand? His watching the various tricks? Olivia and her being the assistant, the Transported Man? Cutter and his observation? His pursuit of Fallon, the injury to his arm? His not wanting to continue in the rivalry between the two men? Angier and his return, the card at the bottom of the glass, the buying of the various goods? His witnessing the death? His wanting to meet the Lord, his disgust at the truth, the final conversation with Angier, allowing Fallon to come in and kill him, Cutter finally giving Jessie to Fallon?

9. The two young men, their enthusiasm, interest in magic, their being plants in the audience, Angier and his marriage to Julia, the issue of the knots, Borden and his saying that he did not know what knot was done? The funeral and Angier’s anger? The plan for the bullet and shooting, Angier in disguise, shooting his hand? Borden and his revenge, the woman and the injuring of her hand? The issues of the Transported Man? The build-up to the death, Angier trapping him?

10. The portrait of Angier? Young, American (and the background of his being a Lord)? His marriage to Julia, as a plant in the audience, his devotion to his wife, the impact of her death, the funeral, his suspicion of Borden, his demanding to know the nature of the knot that was tied? His being alone? The issue of the catching of the bullet, disguising himself, injuring Borden’s hand? The meetings with Cutter, the glass and the card? His new act, the rehearsals, his willingness to destroy the bird? The performance, the entrepreneur and his acceptance of the act, the woman and her injury, Borden on stage? His having to retire? The Transported Man, his going to watch Borden? Hiring Olivia as his assistant, the relationship with her? The issue of whether it was a double or not? His assuming that it was a trick, Cutter saying it was a double? Finding his own double, Olivia and the pub, the performance by the double? The act, his hidden bow and his anxiety at not getting the applause, wanting an alternative? Borden coming, his breaking his leg? Olivia giving him Borden’s diary, the irony of the decoding, ultimately finding it a set-up? The decision to go to Colorado with the key word of Tesla? Cutter and his pursuit of Fallon, the confrontation, the diary? In Colorado, his meeting with Tesla’s assistant, the electrocuting fence, the discussions, the assistant allowing him in, the meetings with Tesla, the light bulb and no wires? The issue of the top hat, its not disappearing? The test with the cat? The irony of finding all the hats, the two cats? The building of the machine? Edison’s men, his deciding to leave Colorado Springs, finding the box? Returning to London, booking Cutter again, having the blind staff, the trick and its acclaim? The entrepreneur making the demands? His appearing on the balcony? Transported? The irony of the clones? The revelation of Angier shooting his clone? The drowning and the drowning of a clone? His death, Borden condemned to death? His reassuming his title of Lord, sending his assistant, wanting to buy up all the equipment and the secrets? The revelation to Borden in jail, Cutter finding out the truth? Cutter and his decision, allowing Fallon in, Fallon’s revelation about the twins, shooting Angier?

11. The portrait of Borden, the audience not knowing that there were twins? The clues throughout the film, the divided personality, part this, part that …? The nature of Fallon’s disguise? The revelation that both of them were Fallon, both of them Borden? The audience not noticing the clues? Borden as the plant with Angier, the issue of the knot and Julia’s consent, his stating that he did not know which knot it was, the funeral, the aftermath? His not being a showman? Fallon’s omnipresence? The tricks and his being booed? Sarah and her watching, her nephew? Borden escorting her home – and then Borden in the room? The relationship, the baby, Sarah and her wanting there to be no secrets? Borden and his obsession, the effect on Sarah, love for the daughter? The explanation of the bullet trick – and it seeming obvious once it was explained? Angier and his shooting his hand? Olivia coming to him, telling him the truth, wanting his secrets? The affair? His going to the double, the discussion, insinuating the issue of power, his coming out of the Transported Man door, the trussing up of the double? Angier breaking his leg? The machine, Tesla, the diary? The issue of the affair with Olivia and Sarah? Sarah, her beginning to drink, the humiliation in the restaurant, at home, wanting to see Olivia? Her hanging herself? The puzzle for her that some days he loved her, some days not? Fallon being followed, buried, Borden digging him out, the giving of the diary? The irony of the death, his being in court, in prison, humiliated by the guard – but chaining him? The arrival of the Lord’s assistant, the discussions? His concern about Jessie? The confrontation with Angier, Angier tearing up his secrets? The fact that it was Borden dying, his apologies to Fallon? The hanging, “Abracadabra” and his death?

12. The hard Alfred, the softer Fallon – with the two women? The revelation that it was the softer man who died? The harder twin giving up his life?

13. Julia, her relationship with Angier, the tricks, her death, her nodding to Fallon?

14. Olivia, her work, the relationship with Robert, finding the double, his sending her to Borden, her humiliation? With Borden, the relationship, the setting up of the diary?

15. Sarah, attractive, love for Borden, the marriage, some days on, some days off, her daughter? The secrets, its toll, Olivia, humiliation and death?

16. Tesla, a real character, his scientific background, reputation, in Colorado Springs, electricity and his experiments, the Edison men and the criticisms by Edison? His assistant, loyalty? The machine and its testing, the departure and the destruction of the plant, leaving the machine for Angier?

17. The world of entrepreneurs, theatres, audiences and reaction? The audiences, suspense, the love of the prestige?

18. The theme of the doubles, twins, using one double against the other?

19. The various magic tricks that were presented, the wonder, audience reaction, the explanations? Tricks being shown, tricks being concealed? The gullibility of audiences? And the reputation and delight of magicians?

ALL THE KING’S MEN

US, 2006, 128 minutes, Colour.
Sean Penn, Jude Law, Kate Winslett, James Gandolfini, Mark Ruffalo, Patricia Clarkson, Kathy Baker, Jackie Earle Hayley, Anthony Hopkins, Kevin Dunn, Frederick F. Forest, Tom Aldredge, Talia Balsam, Eileen Ryan.
Directed by Stephen Zaillian.

There seems to be something missing from this film. The early part moves very quickly, too quickly, to establish Willie Stark as the Governor of Louisiana. Too much seems to happen off-screen that one wonders whether material was filmed and is now on the cutting room floor – or in waiting for the DVD of the Director’s Cut. The other strange aspect is that the film, which seems to be centred on Willie Stark and his administering of the state, often leaves him behind for some time and focuses on his aide, Jack Burden. And in the Jack Burdern interludes, there are a number of flashbacks. This has the potential to confuse but further interrupts the flow of the plot. One wonders whether it might not have been better – and more dramatically cogent – to have a more linear film which would be more intelligible, audience friendly and more powerful in its development.

The potential is there. The previous version of Robert Penn Warren’s Pulitzer Prize winning novel, based on the life and career of Huey Long, governor of Louisiana in the 1930s, won the Oscar for Best Film of 1949 and acting awards for Broderick Crawford and Mercedes McCambridge?. Its writer director, Robert Rossen won a Golden Globe.

It is not as if the present writer director is not a good creator. Witness his adaptation of Schindler’s List. Zaillian also directed Searching for Bobby Fischer and A Civil Action.

The ingredients are certainly there but do not draw the audience in as would be expected. Sean Penn is sometimes very powerful as the upstart Stark, although his crowd-rousing speeches have a lot of flailing arm desperation. Jude Law is more of a background person as Burden, which makes his adherence to Stark’s cause and his attempts to dig up dirt on his judge godfather (Anthony Hopkins) the more surprising and alarming. His voiceover is meant to offer something of a conscience report on what is going on even if he does not practice what he declares. To that extent, his performance is effective, keeping the more extraverted histrionics for Penn.

Also in the cast are Kate Winslett (though her relationship with Stark is underdeveloped), Patricia Clarkson (whose presence in Stark’s life is not really developed either) and Mark Ruffalo as a doctor who brings the rise and rise of Stark to a climax. There is an eerie portrayal by Jackie Earl Haley of a silent chauffeur-gunman.

The film is not uninteresting, especially in its reflection on American politics and the South, but one wonders what it might have been.

1. The novel of Robert Penn Warren and his Pulitzer Prize? The 1930 Oscar-winning film? The role of a remake – and its relevance? American politics, corruption at the beginning of the 21st century?

2. The title, the Humpty Dumpty nursery rhyme, the application to Willie Stark?

3. Louisiana, the 40s and 50s, the countryside, the cities, the mansions, the political buildings? The recreation of government? The musical score?

4. Willie Stark, audience response, becoming a hero? The listeners reading into this politician their hopes and willing for achievement? His social concern? From the common people, in the county? His lack of moral stance? Openness to corruption? His justifications? Willie Stark in himself, relative values? His relationships, his wife and son, Sadie? The inevitability of his assassination?

5. The structure of the film: Jack Burden and his voice-over, his story, Willie Stark’s story, equal, intercutting? Flashbacks and flashbacks within flashbacks? Audiences and their emotional response to the characters? The situations?

6. Sean Penn’s performance as Willie Stark, Stark in himself, his background, family, the land, social issues and concern, his skills with people, the meeting with Burden, attracting him, getting him to join his cause? The cultivation of people, his political action, use of money, deals, speeches? The responses? The cumulative effect of his speeches? His style of rhetoric, body language, arms flailing? His capacity for persuading people, promises? The tenuous relationship with his wife? His admiration for his son? The election, people’s expectations, his exercise of power? Using people? Funds? Payments to people? His using Jack Burden? Sadie and her loyalty? Tiny Duffy and his presence in the entourage? Burden accompanying him to the striptease shows, his obsession and attraction? Sugar as his driver? His wanting to play God, controlling behaviour? His wanting information on Judge Irwin? Using Burden? No scruple? The plan for the hospital, Doctor Stanton as his front? The dedication and standing with Doctor Stanton? His meetings with Anne, the relationship (and this not initially made explicit in the film)? The scholarship? The concern about impeachment, the information on the judge, the vote in the House, his press conference, exuding confidence – and his being shot?

7. Jack Burden’s story, the voice-over, his moral conscience and lack of it, his comment on himself, the background of his family, his mother and his visits to her, her love for her son, the judge as the father figure, the catapult, fishing, being a second father? The irony of the final revelation that he was his father? His listening to Stark, his own studies and background, joining Stark’s entourage? His distaste, yet doing Stark’s will? The importance of the confrontation with the judge, his own personal feelings, his research, the libraries, getting information, visiting the bank manager, sister of the dead banker? Accumulating the evidence? The questioning of his loyalty to Stark, the way that he was recruited? His relationship with Sadie and discussions? With Tiny Duffy? The flashbacks to childhood and his relationship with Anne, her being forward, the memories, the bonds, the sexual history – and his impotence? His upset at her relationship with Stark? Adam, his admiration for him? The three and their life together, the scenes of them and their happiness in each other’s company? His going to his mother, confronting the judge, the news of the judge’s suicide? His philosophy of life, observing the assassination? The end – and his future?

8. The political background, the parties, Tiny Duffy, corruption, the leads, the boss type, Stark’s presence, the politicians, the vote in the House and their reasons for voting? Tiny Duffy as governor?

9. Sadie, in herself, her work, loyalty to Stark, the relationship, her jealousies?

10. Anne, the daughter of her father, reputation, wealth? Her life, flashbacks and the relationship with Adam, with Jack? Her relationship with Stark, the glimpses of her? The assassination?

11. Adam, his bitterness, memories of the past, the bonds with Jack, with Anne? An upright man, his lifestyle, apartment, Burden’s visit? His life, dedication as a doctor, agreement to support Stark, the hospital, realising that he was being used as a front, his disillusionment, shooting Stark, his own death?

12. Jack’s mother, her life, the absence of his father, her reliance on the judge, the judge as a second father?

13. The judge, the initial visit, his refusal to back down to Stark’s demands? The discussions, the memories, his being a father figure, the fishing, the catapult? The truth, his having something to hide, his past behaviour, the documents, the banker, the death of his partner, the sister, the note and the letter? In the south, the ambiguity? The discussion with Burden, his death – and the revelations he was Jack’s father?

14. The investigations, Stark not believing that they were a threat, his wanting to thwart them, the vote, his reaction?

15. The tableau of the two deaths, the interconnection between Adam and Stark?

16. A glimpse of American politics, the 20th century, the past, the relevance for the 21st century? The film as a parable and as a warning?

DRACULA DEAD AND LOVING IT

US, 1995, 88 minutes, Colour.
Leslie Neilson, Peter Mac Nicoll, Stephen Weber, Amy Yasbeck, Mel Brooks, Lisette Anthony, Harvey Korman, Mark Blankfield.
Directed by Mel Brooks.

Dracula Dead and Loving it is an amusing title for Mel Brooks’s parody on the Dracula legends. He and his screenwriting team actually used an amount of dialogue from the classic Bela Lugosi film of 1930.

The film is amusing rather than hilarious. In fact, with the serious parallel with the original film, it follows Bram Stoker’s novel, gives most of the outline of the plot, reminds audiences of the more serious aspects even when they are being poked fun at.

Leslie Neilson is the king of spoofs, especially with his performances in the Naked Gun series as well as Repossessed, Flying High and other parodies. Mel Brooks appears as Van Helsing and, as with his Robin Hood film, brings turns this character into a Jewish vampire hunter. Stephen Weber gives an amusing ultra-serious performance as Jonathan Harker. Peter Mac Nicoll is Renfield.

Mel Brooks introduced the satire into mainstream film-making in the 1970s with Blazing Saddles and westerns, Silent Movie and The Silence, High Anxiety and the parody of Hitchcock. However, as time went on, the parodies became much broader, less subtle, as with Spaceballs in 1986 and Robin Hood and Dracula in the 1990s.

1. The popularity of Dracula films? The vampire legends? Suitable subject for parody?

2. The settings, Transylvania, the town, the mountains, the dark castle? The ship to England? England, Carfax Abbey, Doctor Seward’s hospital, the theatre? The familiar locations for the Dracula story? The musical score – especially for the parody dances?

3. The wit of the film, in characterisation, in parallels with the original, the slapstick comedy, verbal comedy? Broad spoof?

4. Fidelity to the plot, use of the 1930 screenplay? The fidelity to Stoker’s novel?

5. The focus on Renfield, travelling through the mountains, the villagers and their fear, going to the castle, the encounter with Dracula? His being transformed, eating the insects, subservient? Travelling with Dracula to England? The mayhem on the boat? In England, his madness, being confined by Doctor Seward? His involvement in the plot, trying to help Dracula escape and finally letting the sunlight in?

6. Leslie Neilson as Dracula, his appearance, manner, spoofing the Bela Lugosi style? In Romania, the vampire women – and their assault on Renfield? His decision to go to England, signing the documents? His thirst for blood? On the boat, the arrival, Carfax Abbey? The visits? The attraction to Lucy, to Mina? His vampirising them? The confrontation with Doctor Seward, with Jonathan Harker? His social life in England, the theatre, the hypnosis of the theatre attendant and her message? His plans for Mina? His nightmare – dreaming that he was in the sun and surviving, eating? His use of Renfield? The build-up to the confrontations, Van Helsing and his challenges? The dance, his not appearing in the mirror? The final attack, Renfield burning him up? The ashes on the coffin and Van Helsing brushing them off?

7. Van Helsing, Mel Brooks’s comic style, the Jewish touch, the knowledge about vampires, wanting to put the stake through Lucy’s heart – and the spurting of the blood? With Jonathan Harker? At the ball, with Doctor Seward, the final confrontation and defeat of Dracula?

8. Mina and Lucy, at the theatre, the attraction to Dracula, Lucy and her being overcome, the stake through the heart? Mina, the bites, her seductive behaviour, the exotic dance with Dracula – and her appearing only in the mirror? The final liberation?

9. Harker and Seward, upright, characters, the institute, Renfield’s madness? Assisting in the vampire-hunting?

10. The comic touches and exaggerations – Van Helsing and his autopsy and all his students fainting? The dance sequences? Dracula as a bat …?

THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING

New Zealand, 2001, 180 minutes, Colour.
Elijah Wood, Viggo Mortenson, Ian Mc Kellen, Sean Astin, Billy Boyd, Dominic Monahan, Cate Blanchett, Liv Tyler, Hugo Weaving, Christopher Lee, Sean Bean, Orlando Bloom, John Rhys Davies, Ian Holm.
Directed by Peter Jackson.

The Fellowship of the Ring is the first of a trilogy based on J.R.R.Tolkien's classic novel sequence, The Lord of the Rings, voted the novel of the 20th century. The movies were all made concurrently but scheduled for release at Christmas 2001, Christmas 2002 and Christmas 2003.

Animator, Ralph Bakshi, directed part of the trilogy in 1978. While critically well received, it was not a major box-office success, so no sequels were produced. New Zealand director, Peter Jackson, took up the challenge in the 1990s, co-writing the screenplay with long-time partner, Fran Walsh, and dramatist, Philippa Boyens and collaborating with New Line Films and the Weinstein brothers to produce the movies. Filming was all done in New Zealand, which provided spectacular scenery for Middle Earth locations as well as special effects companies who have excelled themselves in awe-inspiring images. Most of the technical crews are New Zealanders and the film is a tribute to skills which match any of those from Hollywood.

The cast is international. American Elijah Wood plays Frodo with both intensity and charm. Ian Mc Kellen is an imposing Gandalf. Christopher Lee is impressive as the evil Saruman. Peter Jackson has drawn unexpectedly fine performances from Viggo Mortensen, Sean Bean and Sean Astin as Sam.

What is impressive is the scope of the movie. Tolkien, like fellow Oxford don, C.S.Lewis, drew on English literary heritage to create a fantasy universe and describe it in meticulous detail. Jackson and his team match Tolkien's vision. They invited two illustrators of the Harper Collins edition of the novel to make numerous sketches which could be developed into sets. This means that the production design, costumes and make-up capture the Tolkien spirit.

The fantasy is mythic. It is an epic portrayal of the struggle between good and evil with huge armageddon-like battles. Yet, the focus of good is on a creature, barely a metre high, Frodo Baggins, a young hobbit. Frodo seems insignificant in his community. He rises to heroism in the crises, supported by friends, by warriors and by the sage wizard Gandalf. While Tolkien created this myth of Middle Earth, he drew on his religious background and his Catholicism to give his story stronger theological foundations. Peter Jackson is a cultural Catholic director in sympathy with this implicitly religious mythmaking.

1. The impact of the film? Cinematic achievement? The first of the trilogy? The intended audience? Audience response? Awards?

2. The work of J.R. Tolkien, the popularity of his books, the world that he created, the characters, the themes? Literary achievement? The adaptation?

3. The work of Peter Jackson and his team, the respect for Tolkien’s literature, their understanding of his books, the quality of the screenplay?

4. The re-creation of Tolkien’s world, Middle Earth? The three books? Fidelity, creative interpretation, dramatic interpretation? The visuals, the locations, the cosmic sense, Mordor and doom, the Shire and its lyrical presentation, the world of Saruman? The musical score?

5. Sets, costumes, special effects, the magic, the presentation of the Hobbits, the giant Gandalf, the various creatures, the battles, Gollum, the Ring itself?

6. The mythological world, the world of imagination? The influence of Tolkien and the films on world imaginations? The sagas? The religion dimension? The symbols? The Ring and good and evil? Magicians, elves, warriors, humans, Hobbits, heroes and villains? Quests and suffering? The end of part one and the anticipation of the second part?

7. The impact of the prologue, the formation of the Rings, the power of the Rings, the ninth Ring, Sauron and his power, the battles, the humans and the elves? The victory of Sauron? His cutting his finger, the explosion, the fall, the Ring going into the river, Gollum finding it, possessing it, losing it? Bilbo finding it? Keeping it for a long time?

8. Galadriel and the voice-over, the commentary, information, meanings?

9. The Shire, ordinary, its beauty, way of life, the Hobbits themselves, the introduction of Frodo, meeting Gandalf, laughing, Biblo and his small house, the visit of Gandalf? His birthday celebration, the fireworks, the speech and his vanishing, using the Ring as a joke?

10. Gandalf’s reaction? Bilbo, the effect of the Ring, wanting to possess it, Gandalf’s struggle? Bilbo and his leaving the Shire, going to write his memoirs? Frodo and his inheriting from Bilbo, the Ring?

11. Gandalf and his study, the meanings of the Ring? His own temptation? The commission to Frodo? Sam and his overhearing the story, Gandalf and his talking to Sam, Sam as Frodo’s guard, protection, friend?

12. Frodo setting out from the Shire, Sam and Frodo’s temptation about the Ring? Pippin and Merry? The Black Rider pursuing them, at the ferry, the inn and the suspicions of the people, Gandalf not arriving?

13. Gandalf and his friendship with Saruman, Christopher Lee and his style as Saruman, his voice, presence, white robe, beard? The two talking, Gandalf confiding? The issue of Sauran and his power? Saruman and his betrayal, his saying the only option was to join Sauron and share in the power? The fight with Gandalf, trapping him?

14. The appearance of Aragorn, disguised at the inn, Pippinn and Merry talking loudly, Frodo and the Ring, his disappearance? Aragorn and his wanting to protect Frodo? The riders coming, the pursuit, Aragorn explaining the Ring? Saving the Hobbits? The decision to go to Rivendale, Aragorn safeguarding them in the attack, Frodo’s danger?

15. Saruman, his crystal ball, his spells, evoking the Orcs, the monstrous nature, the attack on Frodo, the Ring and his defence? The accumulating aspects of terror in the pursuit, Frodo and the Hobbits escaping?

16. Arwen, appearing to Frodo, speaking in Elvish? Arwen and Aragorn meeting – the basis for the future and the end of the saga? Rescuing Frodo? Arwen talking to her horse, galloping across the plains, the wraiths in pursuit, the protection from the river, the flood and the white horses in the river? Arwen and her comment about the grace that had been given to her, to Aragorn? The vision of Elrond? Elrond and Gandalf and their arrival?

17. Elrond and Gandalf, the discussion about the Ring, the memories of Isildur and his keeping the Ring during the prologue, the flashback, his being possessed by the desire to have the Ring? The Council? The hope that would be in the future for men only, the elves dying? Introduction to Gimli, trying to destroy the Ring? The need to go to Mordor? The arrival of Boromir, his speeches, his revealing who Aragorn was? Legolas and his being part of the Council, Legolas and Gimli and their arguments?

18. Arwen and Aragorn, the lyric aspects, romance, the pledge and vision?

19. Frodo and the power of the Ring, his decision in the fact of the Council to go alone to Mordor, the establishing of the Fellowship, even including Sam, Pippinn and Merry? Frodo and his meeting Bilbo, Bilbo giving him the sword? Bilbo wanting to see the Ring once again – and his vicious shadow face emerging?

20. The trek, the Fellowship of the Ring and their mission, things going well, the birds? Then the snow, the hardship, Boromir and his temptation to have the Ring, the snow packs, along the paths? Sarumin watching? The voice and the avalanche?

21. The mines, the visuals of the mines, the plaques, Gandalf and his trying to get the password, the doors opening, the lake? The tombs? The monsters in the water, the fight with the swords and arrows? The background of the dwarfs, the cathedral-like ruins, the tomb and Gimli’s grief, the well for escape?

22. The Orcs at the door, the arrows, the giant monster and Frodo threatened, Aragorn saving him, the Hobbits fighting for Frodo? His being saved by the gift of Bilbo’s armour? The chase, their being surrounded, the fire? The Orcs fleeing? The Demon of the Ancient World in pursuit and their running? The pit, the bridge, Gandalf and his leap, the steps, firing the arrows, the collapse, Aragorn and Frodo cut off, the incline of the steps and their leaping to safety? Gandalf confronting the demon, saving the others? The demon and the sword – and falling, Gandalf falling into the abyss?

23. After Gandalf, the Lady of the Wood, her abode, the cathedral-like building, the ice-like cathedral? The arrival of Galadriel, her prophecy?

24. Boromir, the voices, his hopes, Aragorn and the memories of his father, his father, the people and loss of faith?

25. Galadriel – being presented as an icon? The feminine? Frodo following, the steps down, the water? Urging Frodo to look in the mirror? Seeing in the well? Seeing the attack on the Shire? Sam in chains? Frodo drawn into the well? The voices in Frodo’s mind, Galadriel and her prophecy? Galadriel and her heart – the test, greatly desiring the Rings? Passing the test? Not the Dark Lord but the Queen? The special effects of her temptation, the test, and her remaining as Galadriel, encouraging Frodo? “Even the smallest person can change the course of the future”? The gift of the star, the light, the image of the Virgin Mary?

26. Saruman, explaining the Orcs as captured and tortured elves? His hold over them, his use of them?

27. The entry by the vast river, the huge statues, a place of rest? Gimli and Legolas and the emerging of their characters, their tactics, Legolas and his sense of fear? Frodo alone? Boromir and his argument about the Ring, wanting it, the pursuit? Frodo using the Ring to disappear? Boromir, frantic and the curses?

28. Frodo, Aragorn and the test, Boromir fighting and his death? Aragorn under threat? The Hobbits leading off the monsters?

29. Frodo, his grief, Sam, remembering Gandalf, going to the boat, Sam chasing him, his saving Sam? The decision to go to Mordor? Legolas, Aragorn and Gimli and the sense of failure?

30. The end of the first part, the Fellowship – its quest, failure, the mission of Frodo and the sense of anticipation?

NIL BY MOUTH

UK, 1997, 129 minutes, Colour.
Ray Winston, Kathy Burke, Laila Morse, Charlie Creed Miles, Jamie Foreman.
Directed by Gary Oldman.

The title refers to the inability of the central character's father's to express anything by way of love or affection. And this is a major theme of the whole film. The male characters are embodiments of 'nil by mouth'. This is a very hard film to sit through. And much of this is because it is so well made, one of the grimmest portraits of life on screen in recent years. It is both appealing and appalling in its more than two hours running time.

It is appealing in some of the characterisations of working class people at the margin in south London, trapped in a drab world, especially the women. One is very moved by the portrayal of their plight, culminating in a grandmother (and the next three generations present) singing, ironically, Showboat's 'Can't help lovin' that man of mine'. It is appalling in the attitudes and behaviour of the men, locked in their own mateship and erupting in brutality, including one of the most vicious bashings of a wife by a husband. Those who experience this way of life and those who work for victims may not want to look into this mirror of life. Those who don't experience it will find it very hard. The language is frequently blunt and crude.

Actor Gary Oldman (villain in Airforce One, Lost in Space, 5th Element) has written a memoir of his area of London and of his growing up. He clearly writes from the inside. Dedicated to his father, this is a work of insight and exorcising and (one hopes) a healing of memories. Performances are outstanding especially Kathy Burke (Cannes Award winner) as the wife. Appealing and appalling.

1. The acclaim for this film? For Gary Oldman? Its success at Cannes? Kathy Burke best actress? The impact for a British audience, London audience? Non-British? audiences and their perceptions on the UK?

2. Gary Oldman and his work as an actor, his writing this screenplay, directing it? His sister performing in it? Based on his own memories of his family? Recreating the world of his growing up? The possibility of his exorcising his memories and his demons about his family? The dedication of the film to his father?

3. London in the 1980s and 1990s, the focus on a particular part of London, lower middle class, homes, pubs, the streets? The visualising of the suburb? The authentic atmosphere?

4. The colour, the drab colours, the colours and mood? The musical score, the songs – especially ‘Can’t Help Lovin’ That Man of Mine’ – and its irony?

5. The incessant language, the assault on the sensibilities of the audience, yet the reflection of the vocabulary and interactions of the characters?

6. The title, Ray and his explanation of the title, the memory of his father, telling Steve, his remembering, drinking and becoming maudlin? Sad that his father had never hugged him? His regrets? The moments of self-awareness?

7. The portrait of the family, the hard life, opportunities and lack of opportunities, a tough love, the wife being taken for granted? The generations of women? Work, relaxation, a bit of fun, drinking? The background of drugs in the suburbs? The culture of brutality? The male camaraderie, at the expense of intimacy with the women? The women and their banding together? The consequences in this kind of society?

8. The home sequences, the repetitious style, the talk, the meals, the verbal abuse, the put-downs, the physical abuse? The reactions? The picture of marriage, modelling, pregnancy and danger for Val? The tension, the miscarriage?

9. The opening, the detailed attention to the pub scene, the group of women talking, Ray at the counter, his ignoring the women, going to his mates, their chat, the topics, the bonds – male talk?

10. Ray as the centre, Ray Winston’s performance, his own experience of life, work, friendship with Steve, the relationship with Val, her pregnancy? His mother-in-law, her mother? Val’s brother, the work site, the drugs, the drink? The vengeance on the brother-in-law, bashing him? Ray’s encounter with Val, his brutality, the miscarriage? The sexual encounters – matter-of-fact and brief? His being ousted by Val, sorry for himself, remembering his father? His return, apology? The final talk before the women went to visit the brother in jail? The touches of compassion?

11. The portrait of Val, Kathy Burke’s award-winning performance? Thirty and looking older, pregnant, the relationship with her mother, her grandmother, her brother in the house? The problems with Ray, the problems with her brother? The outings, a bit of fun at the pub, her regrets about life, Ray’s excuses? The brutality of Ray’s bashing her? The violent world, her going to hospital? Her talking to her mother, making up stories about falling? Her return, the possibility of taking him back? The battered wife syndrome?

12. Val’s mother, a tougher woman, present in the house, living with her mother, her treatment of her mother? The attacks on Ray? Continually giving money to her son, knowing he spent it on drugs? The women finally at the pub – and singing the song from Showboat?

13. The portrait of the brother, his relationship with his mother, getting the money, his desperation for drugs, his stealing, brutality, cheating? This catching up with him? The deals, his being bashed? Ray attacking him? Ray being attacked and bashed? The dangers – and his going to prison?

14. Steve, as a mate, supporting Ray, listening, encouraging him? Driving him round, coping when Ray was bashed?

15. Pub life, the outlet for families and individuals, the songs?

16. Gary Oldman’s observation of these characters, in their context? The concern from the audience, dismay?

17. The possibilities for the future, some hope, the emotion of the final scene, sitting round the table and talking, the calm? Ray and the possible change? Getting ready to go to prison?

18. A classic British film of the 90s, well observed and well crafted?

TWELVE AND HOLDING

US, 2005, 95 minutes, Colour.
Conor Donovan, Jessie Camarcho, Zoe Weizenbaum, Linus Roach, Annabella Sciorra, Jeremy Renner, Jayne Atkinson, Bruce Altman.
Directed by Michael Cuesta.

A few years ago, director Michael Cuesta made a small budget film about teenagers wandering the Long Island Expressway, hence the film’s title, L.I.E. It focused also on a businessman who exploited young boys. The film was both disturbing and insightful.

It is the same with this film, although it does seem more melodramatic than might be expected, dealing as it does with the emotional problems of three twelve year olds. However, it is worth seeing and thinking about no matter how surprising, or even shocking, the behaviour is.

The other main aspect of the film is the role of parents, especially their preoccupation with their own problems which prevents them seeing what their children are going through let alone give them enough strength to step in and be true parents for their children.

When a young boy is killed in a treehouse fire, set alight by two older boys who did not intend the disastrous outcome, his twin brother’s life is changed. The younger of the twins, he has a large birthmark on his face, feels that his parents have ignored him in favour of his brother. In their grief, and in the mother’s vindictive outbursts for vengeance against the boys who killed her son, they offer no support for their surviving son and his grief and confuse him in terms of what must be done for justice. While he goes to visit one of the boys in the detention centre and begins to understand, it is his mother who has the stronger influence on him.

In the meantime, he has an obese school friend (from a continually heartily eating family, junk-food style) who was in the treehouse but survived. This boy is given the chance to care for his weight and the possibility of playing football. His family cannot understand him and, desperately, almost disastrously, he tries to take his mother in hand and help her to face her obese condition.

More serious is the story of a very precocious twelve year old girl, whose father has walked out and broken contact, whose psychiatrist mother is so angry with her husband that she is not aware of the changes in her daughter – which leads to her getting a crush on one of her mother’s clients and moving to stalking and completely inappropriate behaviour.

The film is well acted. We realise that these scenarios are more than possible. We are asked to be emotionally and intellectually challenged by these stories.

1. The portrait of young people, their parents? Insight into children and adults?

2. Ordinary suburbia, the homes and the US flags, the celebration of the Fourth of July, the streets, workplaces, middle-class suburbs, schools? The surrounding woods? Audiences identifying with the characters and situations? The musical score, the songs?

3. Audience expectations, the world of twelve-year-olds, their mentalities? How accurately portrayed? The children and their age, experience and lack of experience, difficulties, death, grief, anger, vengeance?

4. The introduction to the three families: the parents with the twins, the celebrations, the birthday, the gifts? The mother and daughter – and the tensions, the absent father? The fat family, their eating? The boys who threw the fire bomb – and the absence of parents?

5. The sketch of the twins, the bonds between them, Jacob and his mask, Rudi and his toughness, the introverted and the extroverted twins? Rudi and his continued macho challenge to Jacob? The tree-house, throwing the urine on the two boys? Leonard and Malee and their friendship, the Fourth of July? The seemingly idyllic friendships?

6. The parents, their relationship with each other, the twins, the gifts for the birthday? The tree-house? The boys and their threats to Rudi? The evening, Jacob refusing to go, Rudi and Leonard going, vigil in the firehouse, the two boys, throwing the petrol bombs, the fire and Leonard falling, Rudi’s death?

7. The funeral, the reception afterwards, the father quiet and reflective, grieving, the mother and her more extroverted grief, the husband disturbed? The father and the issue of the land, his friend at the funeral, the father not wanting to see the woods again? Jacob and his puzzle at the funeral? The meals, the tension in the family, the wife and her upbraiding her husband after the court hearing, one year’s detention? Her anger, denouncing justice, denouncing her husband? He sitting and quietly inadequate? Their both unable to help Jacob at all? Later, the reconciliation? The issue of adoption? The father and his talk with Jacob, hugging him? The mother and Jacob’s outburst, her declaration of love – but her continually harking back to justice? The ultimate effect on Jacob?

8. Jacob in himself, the comparisons with Rudi, feeling that Rudi was favoured? His self-consciousness about his birthmark? The friendship with Leonard and Malee? Going to the building site? Malee giving him the gun and his hiding it? Going to class, the teacher not knowing Rudi was dead, her embarrassment? His relationship with his parents, their anger, the taunts? The repetition that the death was an accident and their not believing it? The discussions with his friends, their challenge to him, his going to visit Kenny in the detention centre? His reactions, the continued visits, the building of a possible friendship, understanding? The issue of parole, his being shocked, his saying it was an accident? The retrospect of his cunning, the plan to run away, the arrival of the adopted brother, his shock, the fact that the boy was black, not wanting him to touch his possessions – and finally giving him the baseball glove? Going out at night, meeting with Kenny, confronting him, shooting him, burying him? The building site and the body covered? Jacob quiet – his secret? Future?

9. The contrast with Leonard, large, the large family, at school, the coach getting him to do pull-ups, offering him a place in the football team, getting him to run, saying he was the worst-conditioned child he had seen? The Fourth of July, his decision to go with Rudi to the tree-house, falling asleep, falling out of the house and surviving, losing his sense of taste and his parents’ reaction, disbelief? Eating the apple? His beginning to run, the effect, the effort and the collage of his running? The portrait of his parents, the other members of the family, the continued eating, the junk food? The anger in the family? The big family meal, Leonard and his taunts, eating the apple? His father and his anger, taking his sisters to Florida, Leonard at home, enticing his mother to the cellar, boarding it up, saying it was for her own good, leaving the apples, his mistaking the gas, his going unconscious, his mother, her anger, grief, desperate and the apples, smelling the gas, bashing the door down, hospital, his being sorry, the decision not to tell their father?

10. Malee, her age, her birthday, menstruation, the relationship with her mother? Talking to Leonard about menstruation – and her comment about being able to bear a child? Outspoken? Her ethnic background, the absent father, her mother and her angers with her husband, her work, her clients? Malee hanging out with the two boys, the Fourth of July, her grief at the funeral, in the waiting room with a veil, the encounter with Gus, attracted to him, eavesdropping on the interviews, learning about his music? Volunteering to play for the concert, her changing her song to include Gus’s song? Inviting him, his being present, his reaction? Her mother absent? Going to the building site, attracted by Gus, bringing the picnics, talking? Going into his house in secret, watching him in the shower, his grief, almost touching him? Taking his gun, getting Jacob to hide it? Her loneliness, going to Gus’s house, cleaning it up, the sexual advance, the precocious twelve-year-old? Gus and his reaction, ringing her mother, her mother coming in the car, now knowing what to say? Their talk, at home, Malee’s desperate need to see her father, his refusing to talk on the phone? The ultimate resolution and her mother driving her to see her father?

11. The portrait of the mother, hurt and angry, busy with her clients, her counselling of Gus, the shock of finding Malee in his house, the arguments, the decision for the visit? Gus and his advice – and a touch of therapy for her?

12. Gus, the background of his being a fireman, in the waiting room, therapy, Malee seeing him at the site, his work, his trying to get over his trauma after the fires? His secrets? The interviews, the talk about his song, his dreams, going to the concert, his weeping in the shower? The experience with Malee, the advance, ringing her mother, the therapy and its effect for him, his story about killing the burnt child, on her request, the same look in Malee’s eyes? His advice to Malee’s mother?

13. A glimpse of characters, heightened – with a touch of melodrama? The children, age twelve, their burdens? The alert to parents?

GABRIELLE

France, 2005, 86 minutes, Colour.
Isabel Huppert, Pasquale Greggory, Claudia Coli.
Directed by Patrice Chereau.

Gabrielle is based on a short story, The Return, by Joseph Conrad. It is set in Paris of the 1880s, the world of a wealthy businessman and his wife, living in a lavish home.

The sets, décor and costumes are all very lavish, recreating the period. However, this is a small drama, the clash between a husband and wife. After a lavish dinner, the wife announces that she is leaving. After some time she returns. At a successive dinner, she indicates to her husband who her lover was. Seemingly reconciled, the husband is unable to stay with his wife and leaves – and as the final credits say, never to return.

The film was directed by Patrice Chereau who has made a number of fine films, not without controversy, including The Wounded Man, Queen Margot, Intimacy, San Frere. He is well served in the film by three excellent performances: Isabelle Huppert, excellent as always as the mysterious, even haughty wife; Pascal Greggory as the aggrieved husband and Claudia Coli as the maid in whom the wife confides.

Brief, but an incisive look into a failed relationship and marriage.

1. The impact of the film? Drama? Character portraits? Conflict? The intensity of the film? The claustrophobia of the film? Many consider it a masterpiece.

2. The setting, the beginning of the 21st century, Paris, the streets, the crowds, the trains? The homes – wealth, the stately homes, interiors? The musical score – operatic?

3. The film based on a novella by Joseph Conrad? Conrad and his focus on intimate relationships, his response to Henry James rather than to his own literary tradition? The adaptation of Conrad for the screen?

4. The colour photography, muted, the colours within the household? The contrast with the sharp black and white photography, the opening, the railway station, Jean and his walk home? The use of black and white within the house? Indicating reality and unreality? Psychological states? Audience response to the movement between black and white and colour?

5. The title, the focus on Gabrielle? The equal focus on Jean – and even more emphasis on him?

6. The structure of the film: Jean arriving home, his voice-over and commentary, the Thursday previous, the transition to the Wednesday, the episode and Gabrielle leaving, the return, the next day and the party, the day after and the consequences? The captions?

7. The effect of the voice-over, the importance of Jean communicating to the audience, his history, his attitudes, his belief in himself, his understanding of his wife, his comments on their place in society, comments on the editor, on the satisfaction of his way of life? At the dinner – his observations of Gabrielle and her behaviour, his satisfaction? The breaking through of his satisfaction?

8. Gabrielle, her not having a voice-over, her talking to Yvonne and making the same revelations about herself, her past? Her discussions with Jean? Her disdain of Yvonne and calling her a spy? The revelation of her character through conversation? Isabel Huppert’s controlled performance, seemingly passive – yet passionate?

9. The character of Jean, going up in the world, coming from the train, in the crowds, his sense of self-satisfaction, superiority? His clothes, his comments, his buying of the paper, profit? His wealth? His relationship with Gabrielle? Ten years? His discussions about the intimacy and lack of intimacy? The room, separate beds, yet the satisfaction of being together? His being totally unprepared for Gabrielle’s action?

10. The revelation of the meal, the behaviour of Gabrielle? The discussions about knowing people or not knowing people? Relationships? His observations on the guests? Gabrielle and her dress, manner, behaviour, contributions to the conversation?

11. The dinner scene as the basis for the dramatic impact of his arriving home, seeing her letter, not having his glasses, pouring the drink, finally reading the letter, the crashing of the drink, wounding himself? His disbelief in reading the letter?

12. Gabrielle’s return, silent, on the staircase, Jean listening? The interactions – black and white and colour? His moving to different moods? Angers, seeing things as inexplicable? Her silence? His outpourings? Her reactions?

13. Her going to her room, with Yvonne, the discussions, issues of happiness? Her disdain of Yvonne? Calling her a spy?

14. Yvonne, her reactions, her place as a maid, the visuals of the maids throughout the household, along corridors, in the kitchen? Their listening in, knowing what was happening? Yvonne and her own life? Gossip with boyfriends? The class divisions?

15. Gabrielle, the bath, going down for the meal? The discussions? Her primness? Passivity?

16. The revelation of who the lover was, previous comments on the editor by Jean, his being visualised at the reception? Gabrielle and her explanations, the satisfaction with the editor, the way of meeting him, the rendezvous, the specific discussion about sexuality and relationships with Jean compared with the editor? Yet her not being able to stay with the editor? Her return? Her comment that it would be harder to live with the editor than to return home to the household with Jean?

17. The next reception, the tensions, the chatter? The editor and his presence? Jean and his moods, talking with Gabrielle, shouting at her? Saying she had an announcement to make? The guests and their reactions?

18. The atmosphere of Proust in the portrayal of the visitors, society, debates on the arts, on psychology and philosophy? Pretensions? The comments about what receptions people could be invited to – and not?

19. The final desperate sequences between Jean and Gabrielle? Her holding her ground? Going over to the bed, naked, his initial anger on the staircase and assault of her? His lying on the bed, her passivity? Her remaining there – and remaining within the house?

20. Jean, his rushing down the stairs, his leaving the house – and the caption that he never returned? The glimpses of him fleeing during the credits?

21. A film about the bourgeoisie, social status, class differences, emotional relationships, superficial, deep, fidelity and betrayals? Desperation?

PLEASANTVILLE

US, 1998, 125 minutes. Black and white/Colour.
Toby Maguire, Jeff Daniels, Joan Allen, William H.Macy, Reese Witherspoon, J.T.Walsh, Don Knotts.
Directed by Gary Ross

A television repairman with a mysterious ability transports brother and sister, David and Jennifer, into the actual world of a 1950s black and white sitcom called Pleasantville, which is David's favourite show. In this black and white world, they become Bud and Mary Sue Parker, turning into two of the children of the sitcom's central couple, Betty and George.

The world of the sitcom is limited to what is on screen (books have blank pages) and the values and morals are those of the proper 50s. David decides to go along with it all until he can get back home but Jennifer brings her 90s outlook and behaviour to the sitcom and seduces the captain of the basket ball team.

The brother and sister begin to transform Pleasantville with culture as well as with more knowing sexual behaviour. Some of the world turns into colour as do some of the characters. When Betty is coloured, she actually leaves home to live with the owner of the diner, Bill Johnson. He starts painting.

Meanwhile Bill remains black and white and the monochrome citizens attack the coloured characters and burn the diner. The mayor institutes laws to prevent people changing into colour.

However, David and Bill paint a mural which leads to a court case with special pleading for a fuller life so that everyone turns into colour. Jennifer is also transformed and wants to study literature so she stays in Pleasantville while David returns home to the present.

In 1998 and 1999 there were a number of movies from the US which took the world of television as their symbol for trying to understand the world of the 90s, of moral behaviour and choices, of authority and control, of voyeurism and manipulation. The way was led by The Truman Show where Truman Burbank, unbeknown to himself, had been watched his whole life by a vast public. In EdTV, Ed chooses to have his whole life televised. Jim Carrey's portrayal of Andy Kaufman in The Man on the Moon showed how in the performer and for the audience, reality and showbusiness intermingle.

Pleasantville also takes up the theme of the sitcom but looks back at the black and white external morality and values of the 50s and illustrates how things have changed in four decades and offers a critique of this simplistic world. Is the 50s a golden age, an Eden, of the American way of life? The message is that it lacked vitality and passion and that narrow conformism and ignorant innocence can become fanatical and destructive.

The movie was written and directed by Gary Ross, a provocative movie for the average audience. He is well served by an excellent cast, Toby Maguire who was emerging as a lead star and Reese Witherspoon who showed her versatility in such movies as Election and American Psycho. Joan Allen and William H Macy (Betty and George) are two of the US's best character actors.

1. A film of the 1990s? Media assessment of the American past on the verge of the millennium? A reassessment of American values? An example of back to the future? A piece of Americana?

2. The 1990s and the spate of films about television, the use of television, manipulation, images and mirrors of society, surveillance of individuals? A critique of the media? Artifice and reality? Reality shows?

3. The 1990s: the ordinary home, the problems, the absent father, the harassed mother, the truculent teenagers, self-centred? Jennifer, her concern about herself, antagonism towards David, flirting with the boys, the support of the girls? The reality of the boyfriend and his animosity towards her? David, his friends, the TV marathon about Pleasantville? His knowing all the answers to questions? The fight over the remote control for the program? The fight for control? This world in colour?

4. The appearance of the television man, his cheerfulness, the new remote, a magician, a god-like figure, his control? His believing that the past was good, enjoying the replays, criticising David for changing the set scripts? His anger and huff and going out? His reappearance? David not wanting to talk with him? The end, David’s return? Seemingly happy to know how well Pleasantville turned out – in colour? His initial wanting a black and white world?

5. Pleasantville 1958, black and white, spotless town, the American towns? Everything in place, the town hall, the shops, sodas and burgers, jobs, the way of dress, kids and school, sport, music – temperate? The circular streets, no rain? Everything sunny? The speech patterns and the kind of dialogue? Cute and whimsical? Expectations – a town always being like this and nice, people having respect? On the other hand, the ignorance and naivety discovered by David and Jennifer?

6. Pleasantville as perceived by the audience from a later decade’s perspective? Critique? Perceived by David and Jennifer? Their arrival, in black and white, becoming Bud and Marilu, relating to George and Betty, their life in the house, going to school, the huge breakfast and Jennifer’s reaction? Going to school, her criticisms, seeing Skip and the change of mind? David and his going to his job, befriending Bill? The way of life, ordinary, lovers’ lane, the sodas, basketball and everybody always getting baskets? The authority figures? No change or clouds?

7. Bill, nice, regular, Bud working with him, Bud supplying him with answers about routines and his difficulties in moving out of the routine, pleased with himself when he took some initiative? His looking forward to drawing at Christmas? His liking for Betty? Coming to the house, relying on Bud? Bud buying him the book, his being overwhelmed by the beauty and colour of the art tradition? His desire to paint? His moving into colour, painting, Betty visiting, his seeing her? His portrait of her in the window? Its being smashed? Sweeping up? Bud and Bill painting the mural, going to jail, in court, his apology and not wanting to hurt anyone? At the end on the garden seat with Betty?

8. Bud as the catalyst for change, a controlled personality, his being in black and white and not changing? Friendships, discussions with Jennifer and Skip, the other kids, Margaret bringing him the cookies? His helping Bill? Betty and providing the make-up? Taking Margaret in the car, the coloured blossoms? Lovers’ lane, attracted to Margaret? The rain and the storm? Playing basketball – and trying to miss the baskets and the repercussions on the possibility of losing? His relationship with George? The arguments with Jennifer – and her wanting to know why she was not in colour?

9. Jennifer and Skip, her attraction, the discussions, lovers’ lane, the burgers, the sexual encounter, the effect on Skip – and his being the first person to see colour, seeing the rose? The kids at lovers’ lane, the gradual transformation into colour, emotions colouring their lives? Giving dimension to black and white? Emotions, sex as a passion – and its being a symbol for change? The buying of the big beds? Explanations of sex, Jennifer explaining things to Betty, Betty in the bath, her change of colour? People making choices? Issues of free will? A permissive society – but an acknowledgment that people need choice?

10. Black and white and repression, the inner angers and passion, bursting out, the kids, Betty and Margaret, the lewd boys pursuing Betty and Margaret? Bud and his response, the punches – and his becoming coloured? The mob, the smashing of the windows, the burning of the books, the lynch mentality? George arriving home, bewildered, wanting his dinner? His inabilities to cook? The men, at the bowling alley, with the mayor, the ironing burn on the shirt? The mayor and his calling meetings, trying to cope?

11. Jennifer and her change, her reading, the books being filled in, sexuality, her observations on sex, her rejection of Skip? Having to study?

12. The kids, some in favour, some not, Skip and his expectations of Jennifer? Her thwarting him?

13. The books and their being blank, Bud telling the story of Huckleberry Finn, Jennifer reading D.H. Lawrence? Art? The coming of knowledge, inspiration? The reaction of burning the books? The rain – and the coloured umbrella?

14. Pleasantville, the attitudes of men and women in the 1950s, the men as providers, the women as supplying needs? Expectations? The women saying no? The repercussions for the men?

15. The town meetings, the mayor coming to see George, offering him membership on the town council? Betty and her fears for coming in because her face was coloured? The signs – no coloureds?

16. Bud helping Bill, the painting of the mural, people’s questioning, admiration, their being arrested, Bud in jail, George’s visit, bringing the olives – and his being hungry?

17. The court case, presided over by the mayor, no lawyers? Bill making his apology, not wanting to hurt anyone? The gallery with the coloured people? The mayor reading the list of colours, so specifically on the mural? Bud and his speech? His talking to George, getting him to look at Betty, to feel the hole in his heart, wanting her back, George turning into colour? Bud taunting the mayor, his anger, colour, Betty giving the mirror, his running? Everybody going out – and Pleasantville completely in colour?

18. George and Betty, the reconciliation, discussing risk, not knowing what would happen, the nature of change? For better or worse?

19. Jennifer and her decision to stay, to go to college? David and his going, Betty and Margaret and the gifts, going back through the television, the television man watching and satisfied?

20. Bud’s discussions with his mother, her reaching forty, her expectations? His affirming of her?

21. The overall effect of the experience of Pleasantville – an insight into America during the second half of the 21st century, traditions, change? Surface respectability and the shadow side within everyone and every community?

MULHOLLAND FALLS

US, 1996, 107 minutes, Colour.
Nick Nolte, Melanie Griffith, Chazz Palminteri, Michael Madsen, Chris Penn, Treat Williams, Jennifer Connolly, Daniel Baldwin, Andrew Mc Carthy, John Malkovich, Kyle Chandler, Ed Lauter, Rob Lowe, William S. Peterson, Bruce Dern.
Directed by Lee Tamahori.

On paper this must have been one of the most interesting projects of the year. It attracted the director Lee Tamahori (Once Were Warriors) to Hollywood. It attracted a range of character acting stars, Nick Nolte, Chris Penn, Michael Madsen, Chaz Palmenteri, Treat Williams, John Malkovich, Melanie Griffith. It offered a film noir treatment of violence and betrayal in LA that is reminiscent of Chinatown. While it is entertaining and many of the above ingredients are arresting, somehow or other, it does not all come together credibly (too many plot gaps) and it lacks the drama that it promises. On a popular level, OK entertainment; but on the level of promise, it does not fulfil. More promise than fulfilment.

1. An attempt at a film noir in the 1990s? A police thriller? Crime thriller? The social background? Military background?

2. Los Angeles, the period of the 1940s and 1950s, audiences and their knowledge of this period and crime and police through novels and movies? The filter of fifty years later? The city itself, homes, the clubs? The scenes in the desert? The musical score, Dave Grusin?

3. The title, the reference, the irony, the police?

4. The credits, Allison, Jimmy, the general? The tone, air of mystery?

5. The introduction to the squad, the detectives, their personalities and style, the macho attitudes? Wearing the hats? Being together, driving, the friendship and banter between them? Driving, the keys? The restaurant? The presence of the gangsters? Leading to deaths? The moral and social background of this police squad?

6. Max Hoover and his leadership, a Nick Nolte character? The bond with his wife, Kate and a Melanie Griffith role? The presence of Allison? Memories, the film, Kate and her tears? Going out, the funeral? What future? Kate as the suffering wife?

7. Elleroy Coolidge, psychology, theories, talk? Buddies? The drive and the crash? The truth, the investigation, the General? The final flight, fight, death?

8. Eddie Hall and Arthur Relyea, henchmen, tough, personalities, their bonds, seeing them in action?

9. Allison, her death, Hoover not coping, the autopsy, the seeing of the film, Jimmy and the beach? The interrogation, the issues of the films? The relation to the General? To Hoover? To Jimmy? The clues? Jimmy and his being bashed?

10. The character of Jimmy, the relationship with Allison, the photos? Fruit, interrogation, death?

11. Bruce Dern and the special squad, accountability?

12. The FBI, the pressures on the squad, their reactions, trashing Hoover’s house? His response, the further bashings?

13. The film at the plant? The General and his reaction to the film? The character of the General, a John Malkovich character? The cancer? The theory of expenditures? Death?

14. Colonel Nathan Fitzgerald, the military, the rules? The film, the General and the flight? The killing, the fight – and the final deaths?

15. The background of the atomic tests? The crater, the desert, the cancers, the ward? The secrecy? The victims’ deaths?

16. The film and its loose ends, all coming together at the end, the funeral? The appeal of this kind of film noir to audiences, the interest in crime, investigations, villains, the background of social and moral ambiguity?

MY DOG SKIP

US, 2000, 95 minutes, Colour.
Frankie Muniz, Diane Lane, Luke Wilson, Kevin Bacon, Bradley Coryell.
Directed by Jay Russell.

My Dog Skip is the perfect film for dog lovers. It is based on A Mississippi Memoir by Willie Morris. He remembers his being a shy child in Mississippi in the 1940s but, on his ninth birthday, he is given the present of a dog. The dog is Skip – and becomes popular throughout the town and enables Willie to come out of himself. Frankie Muniz, best known for Malcolm in the Middle and the Agent Cody Banks films, is Willie. Diane Lane and Kevin Bacon are strong performers who play his parents. Luke Wilson also appears.

The film is a memoir, a look at America in the 1940s during the period of World War Two. The film enables audiences to see the ethos of the time and how it shaped adults.

The film was nominated for many awards for the best family film for 2000, winning quite a number of them. It was directed by Jay Russell who made The End of the Line in the 1980s and then no film until this one. During the period after 2000 he made the popular story Tuck Everlasting with William Hurt and Sissy Spacek as well as the action adventure about firemen, Ladder 49.

1. A pleasing family film? A film for families, about families, about children and growing up? Parenting? A film of nostalgia for the United States of the 1940s? The memoirs of the author? The meaning of his childhood and its influence on his later life?

2. The re-creation of Mississippi in the 1940s, the influence of Norman Rockwell paintings? The idealism? The house, the town, the street, the black population? The movies? Baseball? The importance of words? The musical score?

3. The film as a memoir, the perspective of the adult, the sentiment – especially in the finale?

4. Audience response to dogs, the human best friends, the dog for the only child, an object of affection, care and responsibilities, protecting a dog? Having a dog as a pet as a learning experience?

5. Skip, presence, cute, affectionate, tricks, the army, the bootleggers, the girl?

6. Willie Morris and his memoir? With his parents, aged eight and nine, the only child, the sternness of his father, the tenderness of his mother? Being alone? His books, not having any friends, his being bullied? The birthday and the gifts? His aunt, the gift of the dog? The father and his refusing permission? The mother and the dog in the bed? The shopkeepers? The bullies? The girl and her attention?

7. Dad, the memories of the past, the legacy of the civil war? His leg, with his wife? Hunting the deer? The judge? His tolerance – especially for baseball? The portrait of Willie’s mother, tender, vivacious? The car and school?

8. The character portrait of the various kids, at school, in relationship to Willie? Their changing? The test and the cemetery? The bootleggers? The influence of Skip? Later, Skip, Big Boy Wilkinson?

9. The show and tell, Dis? The hero and friend? Sport, the parents, the cap as a gift? The letter? The arrival, the drinking, the killing, the bootleggers? Not going to watch? The place of his father in this crisis?

10. The background of the war effort, the movies, the glimpses of Hitler, the repercussions for the small town?

11. The black members of the community, friendship, the entrances for the blacks, sport and success?

12. The role of baseball, Skip and the baseball? Hitting Skip? The reactions? The search? The river and the sharing?

13. The overview of the period, the changes in Willie, the changes in his parents, his school friends? The Jenkins family? His going off to college? An enjoyable piece of Americana?