THE UNDERCOVER GANG

New Zealand, 1986, 73 minutes, Colour.
Jon Trimmer, Elizabeth Moody, Peter Hayden.
Directed by Peter Sharp.

The Undercover Gang is an entertaining children's telemovie from New Zealand. Set during World War One, it captures the flavour of the period in a small country town. The film focuses on a group of children, a sympathetic Irish teacher, the town's villain and his mother - he is an arsonist and the children are able to discover the truth about him.

The film has a nice flavour of New Zealand and the countryside, as well as interesting characters. Children and family audiences should be able to identify with it. There is comedy, there is action - and, of course, truth prevailing.

A pleasant family film.

1. Family entertainment? For children? Children and school, activities outside school, detective work, finding out the truth?

2. The New Zealand settings? The small town? The period, World War One and patriotism? The scenes in the bakery, in the school, at the swimming-pool? Action sequences? The score?

3. The title and the focus on the children?

4. The group of children, in the bakery, at school, Irene and her rich parents? Their friendship? The leadership of Mr Hedges? Activities in school, with the patriotic pageant and their various roles, rehearsals and performance? Their discovering the truth about the villain, pursuing him, the swimming-hole? His chasing them? Talking to the police? The emergence of the truth? The sketch of the characters of the four children? Their age, experience, playing together, friendship?

5. Mr Hedges, good teacher, friendships? Exciting their imaginations? Telescope? The swimming-pool? Helping them in their investigations?

6. The villain, setting fires, his mother and her protection, the red balaclava? The questions, the lies? Confrontation and his being caught? The cans of petrol in the bottom of the lake, in the barn?

7. The police and their investigations? Believing the children or not?

8. The parents, their friendship, support, at the pageant?

9. Mrs Bolton and the patriotic pageant, the performance? Poking fun at Mrs Bolton?

10. Popular themes of adventure, detection, play - and life in New Zealand at the beginning of the century?

UNDER THE LIGHTHOUSE DANCING

Australia, 1996, 115 minutes, Colour.
Jack Thompson, Jacqueline Mc Kenzie, Naomi Watts, Aden Gillet.
Directed by Graeme Rattigan.

Under the Lighthouse Dancing was filmed at Rottnest Island and in Perth. It is the first film of co-writer and director Graeme Rattigan.

The film is said to be based on a true story. It is an unashamedly sentimental film (with the characters doing an inordinate amount of laughing, then crying) in which a couple want to get married on the island and it is revealed that the wife has terminal cancer. The film takes place over a weekend with the arrival, the frustrated preparations for the wedding, the wedding and the celebration - with the postscript of the death of the wife.

The film is often twee as well as sentimental in its dialogue and situations. However, it has more strength from the performance of Jacqueline Mc Kenzie, a matter-of-fact kind of actress who undermines the sweetness and light with some edge. Jack Thompson is the husband.

The film is a popular sentimental story designed for the widest audience.

1. The impact of the film? Romance? Sentiment? Based on a true story?

2. The Rottnest Island locations, the beauty of the island, the sea? The musical score, the songs?

3. The title and its focus on Harry and Emma, the wedding, the finale and their dancing?

4. The credibility of the plot: the older man and the younger woman? The weekend on the island? Their friends? The illness? The difficulties of having the wedding? The preparations for the wedding celebration? The sub‑theme of the angel and the angel's presence? Harry and his being reassured by a vision of Emma?

5. The focus on Harry and Emma, their love for each other, their age, being together, the plan for the wedding? Harry and the audience not given much of his background as a man, his life or his work? Seen solely in his love for Emma? The contrast with Emma, her age, being with Harry, love for him? No background except for the revelation of her illness? Her friendship with Lou? Their characters, leading David on about Lou and her size? The voyage, the friends on the island, comfortable together? Harry and his drinking and his maudlin announcement about the wedding? Harry and his going to the priest, to the Anglican priest? Taking the axe to the boarded-up church? Seeing the wedding procession go by? Friendship with David and the determination to have the wedding, asking him to do the ceremony? Emma and her enjoyment of the island, swimming, laughing? The preparation for the wedding? The sadness of her announcement of her illness and the group's response? Her going for the walk, floating in the water? David photographing her? The day of the wedding, the celebration itself, the importance of the ritual, the feeling, the ceremony? The aftermath and the finding of the material, the fence, the lavish celebration? Their going off on the motorbike and the light from the lighthouse, dancing there?

6. Emma and her seeing the angel after she was rescued from the water by Harry? With the group, the onlookers? The danger to her life? Her wondering about angels, asking Garth about miracles? Her death, the funeral, lying in the coffin? Harry and the grief at the funeral? His going off by himself, the light and hearing her voice? A belief in the presence of angels and the miraculous?

7. David, the boat, the Pom and his friendship with Harry? Being led on about Lou? The voyage, the meal and the attraction towards Lou, the walk, his going onto the boat and the series of mishaps? The preparation for the wedding? His agreeing to do it? The growing friendship with Lou? Stopping Harry axe the church door? The preparation for the wedding, the wedding itself? The aftermath? His voice-over and the comment about five years having passed? His memories?

8. Garth and his wife? On the island, the house, hosts? Garth and his diagnosis? The support to Harry and Emma? The preparation for the wedding? The sadness about not having any shoes? The celebrations? The aftermath and the funeral?

9. Lou, friends with Emma? Coming from England, on the boat, the attraction towards David, the expectations of the night and his not turning up? Learning to ride the monocycle? The enjoyment of the day, her reaction to the news of Emma's illness? The wedding, the celebration? The aftermath and her relationship with David?

10. The glimpse of the Irish Catholic priest, the Anglican priest and his wife and family? Friendly - but the realities of documents, licences and bureaucracy?

11. The circus people, playing on the beach, the group joining them, the crisis with Emma's swimming to get the ball and her distress? The circus celebration at the wedding? The people joining in the celebration?

12. The sentiment, sadness and happiness? Terminal illness? People bonding together? The importance of marriage, and the ceremony and the ritual? The possibility of miracles and guardian angels?

THE BLACK DAHLIA

US, 2006, 120 minutes, Colour.
Josh Hartnett, Scarlet Johanssen, Aaron Eckhart, Hilary Swank, Mia Kirshner, Mike Starr, Fiona Shaw, John Kavanagh.
Directed by Brian de Palma.

For almost sixty years, the brutal and gruesome murder of prostitute and would-be actress, Mary Elizabeth Short, (nicknamed by the media The Black Dahlia, after the Alan Ladd film The Blue Dahlia) has intrigued Californians and crime readers around the world. Film-makers and novelists have also been fascinated by the case itself and its characters, as well as the police investigation.

In 1975, an effective telemovie explored the case, its background and investigation, Who is the Black Dahlia? Lucie Arnaz was Mary Elizabeth Short. A large supporting cast of veteran screen actors also appeared, including Efrem Zimbalist Jr as the investigator, and Macdonald Carey, Gloria de Haven, Tom Bosley, Mercedes Mc Cambridge.

Now, novelist James Ellroy has revisited the scene of one of the best of the LA police investigation films, LA Confidential. However, the action is set in the aftermath of World War II, in 1946-47, five years or more before LA Confidential. Ellroy has taken notice of how effective the speculations of Polanski’s Chinatown were, that behind crime were corrupt police and corrupt businessmen who were shaping the city’s growth by crooked means and were also touched by more personal moral depravity.

There is a solution offered here, but it is a fictional one, plausible in the Chinatown vein.

The release of the Black Dahlia coincided with the release of another Hollywood mystery death film, that of superman actor, George Reeves in 1959: Hollywoodland. It treads something of the same ground but is set in a sunnier, post-Chandler kind of suburban LA. The two films have a lot in common with Hollywoodland having an edge as the better and more effective film.

The Black Dahlia is directed by Brian de Palma, who showed how well he could do spectacular crime thrillers in the 1980s with his Scarface and The Untouchables. As with The Untouchables, he is able to bring art styles, costumes and décor, atmospheric colour and music score together to immerse the audience in the era.

And he has a good cast. Josh Hartnett is not the greatest of emotional actors on screen which means that he is an interesting choice to play the detective who solves the case (though he has to become involved in scenes of passion where, despite his good intentions, he is not exactly convincing). Aaron Eckhart has shown in many films, especially In the Company of Men and Thank You for Smoking, that he can do genial but slippery characters. The femme fatale is Hilary Swank, rather different from her recent roles. She is the spoilt and amoral rich girl. The (comparatively) nice girl is Scarlett Johansson who is made to look a replica of Lana Turner at the time.

The plot is definitely murky and has some insights into police workings and procedures. It has the overtones of the film noir of the times – and the plot is complicated indeed.

But that is what crime aficionados like.

1. The world of James Ellroy, literary, crime fiction? The films made of his books, LA Confidential? Adapting the book for the screen? Los Angeles in the 40s and 50s? The feel, the crimes, police work, social corruption?

2. The Los Angeles settings, the muted colour, the buildings, homes, the affluent areas, the poor areas, the different neighbourhoods, the crime scenes? The musical score, the songs? Cole Porter’s ‘Love for Sale’ and the choreography in the club?

3. 1946 and 1947, the facts, the fiction? The actual murder of Mary Elizabeth Short? Speculations of guilt in the vein of Chinatown?

4. The structure of the film: the introduction, Fire and Ice, the contest between the two? Bucky and his voice-over, the facts, the commentary? The contrast between Bucky and Lee, their meeting, partners, the investigations, the murder, their getting the job? The shooting of Baxter? Lee’s obsession? Bucky making the contacts? The role of Kaye, being in the centre? Their different tracks? The climax in Lee’s death, the confrontation of the family, Bucky solving the mystery?

5. Bucky as hero? Ambiguous, the scenes with his father, caring for his father, getting the money through the boxing bout, being able to support him in a home for the elderly, his father shooting the pigeons, his Alzheimer's, the model plane, the sadness of his being in the home? Bucky and his ability to fight, big fish in a small pond, his reputation? The battle in the streets with the sailors, his physical skills? Encountering Lee, Lee’s reputation? The build-up to the fight, the political purposes, the proposal? The brutality of the fight, Kaye and her watching? The brutal bouts, the KO? The result, their popularity, the passing of the law about the police? Bucky and his meeting with Kaye, her support, his puzzling over her? The mystery, the attraction, sharing everything with Lee and Kaye, going to the movies, the meals, the celebration of New Year? The issue of sexuality and her not being Lee’s mistress? The bonds, Lee and Bucky working together, their trying to get Nash? The murder, the shooting of the black man? Bucky and his chasing the man in the street, coming back to find the dead men? The murder scene for Mary Elizabeth Short? Bucky and his relationship with Russ Millard, seeing him as a father confessor? The clues about the Black Dahlia murder, the reports in the paper? At the crime scene? The friends, the girlfriend, finding her in the park, the interrogation? His going to the lesbian club, fascinated by Madeleine? With the box of matches – and his lending them to Lee? The irony of what this would lead to? Going with Madeleine, at home, the dinner, his being insulted by the parents, the bizarre family, Martha’s sketch? The sexual relationship with Madeleine? Kaye and her jealousy, following him to Madeleine’s? The build-up the release of Dewitt, Kaye being afraid, the background of the robbery, Kaye being one of his girls, Bucky seeing the initials burnt into her back? Mending the bathroom, finding the cash? The truth about the robbery, Lee taking some of the money and hiding it, supporting Kaye? His fears about Dewitt getting out? Finding the studio, the set, his realising the similarity to the film that he had seen, linking the Linscotts with the film, with Mary Elizabeth Short’s death? His visit, the blood-soaked mattress? His going to the family, confronting the family, shooting the works of art, the irony of Martha giving the information to Lee, the mother and her relationship with George, her behaviour at the table, her manic behaviour, telling the truth, the fact that she had killed the Black Dahlia, her shooting herself? Her husband, the shady deals, the guilt? Being blackmailed by Lee? Madeleine and the confrontation, her protecting her father, always wanting her name out of the papers? Her confidence, defying Bucky to shoot her? His shooting her? His return to Kaye – the happy ending but ambiguous?

6. Lee? Fire, genial, his reputation, getting murderers, the Dewitt robbery – and the irony of the truth? The fight in the streets, befriending Bucky, their being partners, training for the fight, his relationship with Kaye, rescuing her, protecting her, educating her? Their life together? The bout, his determination, the KO? Taking Benzedrine? Working with Bucky to get Nash? Nash and his terrible reputation, the irony of his committing other murders while Lee was preoccupied with the Black Dahlia? The Baxter killing, Lee saving Bucky’s life? The Dahlia crime scene, the matchbox with the information, the audience not knowing what was happening behind the scenes and puzzling about Lee’s obsessiveness, his shrine to the Black Dahlia, Kaye’s story about the death of his sister, his outburst while watching the pornography? The fight with Kaye, Dewitt’s coming out of jail, her throwing him out? His going to Bucky’s father’s flat? The build-up to the meeting, with Dewitt, his death? And the revelation of the truth?

7. Russ Millard, genial, the father confessor to the police, to Bucky? The other police authorities, Lee’s behaviour at the screening of the pornography, his insulting people, the official demanding his reply? Lee’s not doing it? The background of police work in Los Angeles at the time?

8. Kaye, her story, from the Midwest, coming to Los Angeles, with Dewitt, prostitute, his initials burned into her back? The bank robbery, Lee rescuing her, living with her, paying for her studies, her style? Her artwork? Her calling Bucky Dwight? The bonds between them, sharing everything together, the movie and her holding both their hands, the meals? Her glamour? Her fears about Dewitt, Lee and his obsessiveness, her throwing out his stuff, wanting the bathroom fixed, the irony of the truth about the cash, her following Bucky to Madeleine’s? His returning to her?

9. The Linscott family, the family story, Scott’s background, migrants to the United States, the father marrying his wife for money, the two daughters, their wealth, the silent films, buying the sets from Mack Sennett, building fire hazard housing (and the indication that there would be an investigation)? His link with the pornography, his friendship with George, George’s painting? The dinner, the insults, his wife’s behaviour, the hysteria? The calm, the sketch? The wife and her madness, snobbery? Martha and her sketching and joking? Madeleine and her embarrassment?

10. The Black Dahlia, the background of the film The Blue Dahlia, the press, the body, the autopsy and opinions, the information about her death, the mystery? The squad and its investigation? Discovering her identity, Bucky’s visiting her father and her father’s harsh judgment on her? His access to the screen tests, watching them, the character that emerged, the lies she told, her ability to manipulate, emotional, acting? Lee and his obsession with her? Bucky and his interest? Their watching the pornography, Lee’s overreaction? Her life, her friendship with Lorna, the lesbian relationship, the gradual revelation of the connections with Madeleine? The clubs, the performances?

11. Madeleine in herself, the rich family, pampered, the mad mother, the indulgent father, George? The rivalry with Martha? Her wanting to have a wild reputation – but out of the headlines? Her story about going to the club, the lesbian scene, her relationship with Mary Elizabeth, the relationship? At the club, running away, the meeting with Bucky, the attraction, the sexual relationship? Inviting him to the meal, her behaviour during the meal? The audience finally finding out the background, Lee and his blackmail, Madeleine protecting her father? It revealed that she was the shadowy figure who stabbed Lee?

12. A 2006 film with a retrospect of sixty years earlier in Los Angeles? The boom before World War Two, the aftermath of the war, the country town becoming a city? The city that is Los Angeles, its neighbourhoods, the background of film-making, people coming west in order to find a career, failing, getting caught up in pornography and prostitution? The role of the police? Decent police, ambiguous police, corrupt police? The corrupt businessmen in Los Angeles – and the extent of their evil, their work and business, extension into relationships, sexuality, violence?

BETWEEN THE DARKNESS AND THE DAWN

US, 1985, 100 minutes, Colour.
Elizabeth Montgomery, James Norden, Karen Grassle, Michael Goodwin, Robin Gammel, Marcia Rodd, Dorothy Maguire.
Directed by Peter Levin.

Between the Darkness and the Dawn is an interesting and emotional television movie. It was written by M. Richard Nash, best known for his play and the film version, The Rainmaker (1956 with Katharine Hepburn and Burt Lancaster). It was directed by Peter Levin who worked with television series during the 1970s but had a breakthrough with a series of interesting telemovies during the 1980s including Washington Mistress, The Marva Collins Story and Sworn to Kill. During the 1990s he returned to directing television series.

The film focuses on the interesting experience of a middle-aged woman who went into coma as a seventeen-year-old girl and wakes up twenty years later. She has to adjust to herself, to the world which is twenty years older, to her family. There is also the danger that the awakening might not be permanent.

After Bewitched, Elizabeth Montgomery appeared in a number of very successful television movies. Her mother is played by veteran actress Dorothy Maguire.

Five years later, the film Awakenings was a bigger-budget and more dramatic presentation of a theme of people awaking from coma – with the possibility of reverting.

1. The impact of the television movie? Humanity? Illness? The strange experience of waking from coma? The effect on people around the subject? The subject herself? Audiences identifying with the characters?

2. The credibility of the plot? The situation of the ordinary American town? A transition from the 1960s to the 1980s? The musical score evoking the periods?

3. Elizabeth Montgomery as Abigail, the plausibility of this happening to the character? The memories of Abigail as a schoolgirl? Her high school boyfriend? Life in the 60s, her experiences, style? Her awakening to changes? Her mother being older, her sister being older and married? The relationship with David? The encounters with the teacher?

4. The presentation of illness, coma, the effect of coma for twenty years? The medical background? The response of Beryl, of Ellen? The waking and sleeping? The drugs? The awakening – but the permanent possibility of death?

5. Abigail, as a character, her awakening, the effect? The response of her mother? Joy, holding her? What was lost being found? Yet the possibility of having to let go? Ellen, her happiness, her fears, the past jealousies? The marriage to David? The son? The talk, the reconciliation? The memories? David and his love, his emotions, his wife and son?

6. The portrait of Abby, from seventeen to thirty-seven? A girl in mentality, adjusting to being a middle-aged woman? The medical experiences, the continued awakening? Her response to her family? Trying to make up for lost time and understanding it? The regrets? Her reaction to her mother, Ellen, David, going to the school and expecting her locker to be still there? The fears, the family party? Matthew? Best friend and regrets? The teenagers (Zombie) and learning? Jack and the talk? Her having to listen, school, updating? The background of “risky business”, astronauts etc? Computers? The affair and the effect?

7. The fear of death, her sense of being alone, her mother, Jack, the graduation?

8. The character of Jack, the small town, divorce, goals? Helping Abigail and fighting for her?

9. Themes of time, age and ageing, relationships, regrets, coping? An interesting and humane portrait of women, illness, family?

BEAUTIFUL

US, 2000, 112 minutes, Colour.
Minnie Driver, Joey Lauren Adams, Hallie Kate Eisenberg, Kathleen Turner, Lesley Stefanson, Brigette Wilson, Michael Mc Keen.
Directed by Sally Field.

This is Sally Field's first feature as director. She brings a wealth of experience as a starlet on TV, a young actress, a respected star with two Oscars.

We see Mona as a gawky teenage girl, her mother cantankerous, her stepfather abusive. She escapes into the dreamworld of training for contests, paying her way, tripping up contestants. But she befriends Ruby, a shy girl who is a designer dressmaker. Together, they begin to win. As the adult Mona, Minnie Driver enters the film and dominates it in her now ruthless ambition. She uses people shamelessly and we wonder how she could ever be transformed (which we know she will be). Suffice to say that the climax is both expected and unexpected, except to say that it makes a statement on behalf of women.

1. A piece of Americana? The importance of beauty pageants? Response of woman for and against? The ethos? The nature of beauty? Transcending physical beauty?

2. The prologue and the newsreels, the musical score, the songs? The women, poses, costumes? The behaviour and joy of the winners?

3. Illinois in the 1980s, the small town, the house and its detail, the cities, television, the pageants?

4. The family, the broken family, the bed? The molestation? Gran? Mother and her aggravation, the critique, feeling not loved? Torched, selfish? The importance of giving – so beautiful? Betrayal, lying, love?

5. The focus on teeth, the cash, the payment? Participant? Verna Chickell and her influence? Mother away, school and calculation, Laura and lunch? The winning of the dress, the television crown and watching it?

6. Mona’s age, dancing and singing, Mona and sexuality, sharing with Ruby? The morning sickness? The nice interpretation?

7. Jo-Jo? and the clash, the burning, television, the investigation and the nastiness, Mona and her rudeness to Ruby, Mona’s avoidance? The end and frustration? Mona pushy, showy, extinguishing things? Joyce?

8. Mona and her selfishness, using people, hurting people, using the charities, the scandals?

9. Ruby as good, a friend, nice? Grandmother? Mother figure? Self-effacing, encouraging, generous? Mona’s smile?

10. The seven years, achievement, the aunt, the mother? Vanessa to be a soccer player? The autographs?

11. The planning for winning Miss America, the box on the television for the family? Vanessa and her reactions, the look-alike, Mona not taking her to the game, saying that she was an unloved child, the photos, her mother’s call?

12. The old lady, Oscar and his call, the pills, the arrest, court, jail?

13. The camera, the day in the life of Mona, the treatment and photos, the pregnant woman in the supermarket, singing ‘Wind Beneath My Wings’? The interview and the humiliation? The hostess and the old couple?

14. The visit to her mother, Vanessa, her mother not understanding? Orphans never learning words? “Mean lady”?

15. Grown up, Mona as a person, needing her mother, Ruby and her strong talk? Holding onto the bad? The night of reflection and not getting up?

16. Vanessa to go, supporting, appearing, Mona deciding about the television box?

17. The platform interviews, the send-up, sex and education, the crusade, the hotel? Clothes, Joyce? Lance Desolvo? Miss Texas and her ventriloquism?

18. The contestants, the confusion, especially about Mona not being married, Vanessa, “My mother”? Ruby’s call?

19. The night, the elimination, the instruments and the song? The truth, leaving, the votes and applause? Joyce’s response?

20. How satisfactory was the happy ending? The family relationships? Friendships? Mothers and daughters? Coaches? The characters of the various contestants, Miss Texas, Miss Tennessee, Miss America, Miss Host?

21. Audience interest – women and beauty pageants? Men? The themes transcending the pageants?

SPOILS OF WAR

US, 1994, 100 minutes, Colour.
Kate Nelligan, John Heard, Toby Maguire, Andrea Roth, Rhea Perleman.
Directed by David Greene.

Spoils of War is based on a play by Michael Weller who has adapted it for the screen. At times it is strong with dialogue, evidence of the theatrical origins of the film.

The film was directed by David Greene, who directed Godspell and many television movies. Kate Nelligan is very strong as the mother of the family. John Heard gives an emotional performance as the estranged father. The film is of interest in seeing Toby Maguire at the age of eighteen. Within three years he made The Ice Storm and began a very successful career, reaching a popular peak as Spiderman.

The film was set in the 1970s with memories of the protests of the 1960s. Nelligan and Heard portray a couple who for fifteen years. Toby Maguire has lived with his mother but wants to know something of his father. This brings about strong tensions with all the characters – but ultimately, some kind of understanding if not reconciliation. Rhea Perlman portrays Kate Nelligan’s friend, a protester from the old days.

1. The impact of the film? Portrait of American families? Separated families? Dysfunctional? Insightful into families?

2. The 1970s settings, the memories of the 60s? The protest and hippie days? The New York locations? The school? The house on the beach? Musical score?

3. The title, the intimations of war, the plunder of war – and Martin as the spoils of war?

4. The credibility of the basic situation: Elise, the past, her protest, her friendship with Emma and Cecil, her love for Andrew? Her not being able to stay, taking Martin with her? Not communicating with Andrew for fifteen years? Her drinking, going to bars, meeting men? The way that she brought up her son? Her work? Her skills? The opening, the break-up, driving away, the decision to go to New York? Her getting a job, efficient at her job? At home? Getting desperate, her reaction to Martin’s getting in touch with his father? Wanting to send him to the independent school? His reaction, her laying down the law? The cost? His running away, her bringing him back? Her work, unable to go to the parents’ day? The aftermath? Her response to his getting the scholarship to Switzerland? Her anger, his seeing his father? Martin’s rebuking her? Her going to the party, arriving late? The conversation with Emma, relying on her, Cecil and his going to Canada? Emma telling her some home truths? The visit to Andrew, her offhand attitude towards Penny? The frank talking with Andrew, loving him, the night together? The angry interchange? Martin staying with his father, her going off? The reconciliation with her son, her realisation of what she must do? Her trust in him? A future?

5. Martin, his age, experience, living with his mother? The letters to his father? No address? The break-up, the decision to go to New York? His going to see his father, the photo shoot, talking with his father afterwards? The visits, sharing? The phone calls? His not wanting to go to school, the arrival, running away? Exasperation with his mother? Exasperation with her behaviour? His phoning his father, inviting him to the parents’ day? The flight, going home with him, meeting Penny? Wanting his mother to come to the party? His speech on the parents’ day and his achievement? Explanations to his father? His mother’s arrival, his drinking, falling in the water? Witnessing his parents’ clash? Staying with his father, the return to his mother? Reconciliation? Keeping in touch with his father?

6. Andrew, in the commune, opting out, people feeling he had sold out? His not being ready for family? His travels, photography? His living with Penny, her age? The photo shoot, meeting Martin, his reaction, not wanting surprises? His keeping in touch, going to the parents’ day, the flight, disagreement with the content of his speech? The meal with Penny? Meeting Elise, the night, his love, the argument, his passionate outburst, her telling him truths? Martin staying with him, this not being possible, sending him back to his mother? Future?

7. Penny, her reliance on Andrew, living with him, her pleasant manner, with Martin, put down by Elise, her leaving?

8. Emma and Cecil, the memories of the commune, committed to causes? Taking in Elise, Rhea (**Emma?) and her upset with Cecil having to go to Canada, speaking the truth to Elise?

9. The school, the head, non-competitive? The parents’ day?

10. A credible world? The setting of the 70s – and still relevant in decades after?

SUELY IN THE SKY

Brazil, 2006, 88 minutes, Colour.
Hermila Guedes, Maria Menezes, Zezita Matos, Joao Miguel, Georgina Castro.
Directed by Karim Ainouz.

Sueley in the Sky was written by Karim Ainouz who achieved some fame with his first film, Madame Sarta. He also co-wrote a number of striking films, especially those set in remote areas of Brazil or in the slums of the cities: Movies, Aspirin and Vultures as well as Lower City. He contributed to the screenplay of Walter Saller’s film, Behind the Sun, set in the 1940s in remote north-eastern areas of Brazil, and the blood feuds there.

With this film, the setting is a city beyond the capital. A young woman returns home, waiting for her husband to come back. However, he goes off with someone else. She becomes friends with prostitutes in the town and decides that in order to raise some money for herself and her daughter she would be prostitute for one occasion, raffling herself and the winner being drawn in a lottery. This brings on criticism from the people in the town, from her family, eventually from the police and authorities.

Ainouz is trying to highlight the poverty in Brazil, both material and spiritual. He focuses on people who have ambitions in life but society and the culture of Brazil are against them. His films generally travel well – though this one is not as powerful as some of the other screenplays that he has contributed to.

1. Impact, Brazilian way of life, the north-eastern desert towns, isolation? People leaving? The context for people to live their lives, leave?

2. The title, the focus on Hermila? The opening with the film of the sky, Hermila telling us her story, about her pregnancy and Mateus? The image of the sky throughout the film? Hot and clear?

3. The name Suely, Hermila and her taking it for her raffle? A substitute name? A name for a change of life and freedom?

4. The town, its way of life, poor, the people, hanging around, jobs? The hard life? Homes? Shops? Clubs and dancing? Selling raffle tickets? The musical score, the local music?

5. Hermila’s story, age twenty-one, her falling in love with Mateus, the pregnancy, the birth of the child, going to San Paolo? The expensive life, restless, her return home, the child, the bus trip? Arrival, Aunt Maria on the bike? Her grandmother? Their caring for the child? Her visit to Mateus’s mother, finding he had sent her money for the refrigerator, her anger? Life in the town, cleaning cars, selling raffle tickets? Going to the clubs, enjoying dancing? Letting the baby cry itself to sleep? Yet care for the boy? Her decision to start the raffle, her friendship with Georgina, discussing the prostitute’s life? Her meeting with Joao, resisting him, the night with him? The possibility of a life with him? Her apprehension because of her commitment to Mateus? The selling of the tickets, the different reactions of the men, lewd, being thrown out, the threat of arrest? The women of the town and their reaction? The reaction of her grandmother and aunt?

6. The friendship with Georgina, Georgina and her way of life, sniffing the polish? The way out of concentrating on the hard life?

7. The raffle, the winning, the night? Her future? The decision to buy the furthest bus ticket?

8. Her meal, with her grandmother and aunt, her decision to leave, on the bus? Joao following – the long wait, his return alone?

9. The portrait of men in the town, their attitudes, work, sex? Irresponsible? Unable to commit themselves?

10. The women, the hard life, at home, jobs? Prostitutes?

11. The pessimism of the film and the continual grind? The optimism of the film and strength of character trying to find a way out of the routine and the humdrum life, and the dreams for a better life?

SYNDROMES AND A CENTURY (SANG SATTAWAT)

Thailand, 2006, 105 minutes, Colour.
Directed by Apichatpong Weerasethakul.

Syndromes and a Century was written and directed by Apichatpong Weeresethakaul, the director of the Cannes film festival award winner, Tropical Malady. As with Tropical Malady, this is a film which is difficult to decipher.

The film moves around in time, explores memory, is particularly subjective in its approach to dreams and memories. The film is abstract but emotional. The director said it is about recollections of his parents who were doctors.

The film is in fragments, difficult to put in linear time. There are snippets of memories that move from one to another. There are various strange characters including a dentist who wants to become a singer, infatuated with one of his parents. There is a Buddhist monk who wants to become a disc jockey. Another doctor proclaims his love, and Doctor Toey, the woman doctor at the hospital, explains a story about her love for an orchid expert and her visit to his farm. Another woman doctor hides liquor inside a limb. And another monk tells the doctor of dreams he has been having about chickens. There is also a young patient with carbon monoxide poisoning who hits tennis balls along the corridor of the hospital.

The film also focuses on a doctor interviewing a young medic who comes from the army who also wants to work in the hospital. These two are the representatives of the director’s parents.

The film was funded, along with a number of films from Asia, by the city of Vienna for the celebration of the two hundred and fiftieth anniversary of the birth of Mozart.

1. An interesting film? Stylised? From Thailand, eastern sensibilities? For western sensibilities?

2. The location, the hospital, the town, the fair, the musical performance? The visual style of the film, the fixed camera – and the rare tracking shots? The overall impact – a touch static? The musical score?

3. The structure of the film, the initial interviews, the later repetition? The patterns, the discussion about reincarnation and repetition? The Buddhist and eastern style of the structure of the film?

4. A range of characters, the military situation, the doctor interviewing the applicants, the life in the hospital? The world of the dentist, his singing? The world of the monks? The world of the doctors, their relationships? The world of the woman doctor, the plants, her attraction towards the flower expert? How well did the film mingle these stories?

5. The themes of healing and illness? Syndromes? In the patients, in the doctors? Their various expertise, pharmacy, surgery, haematology? The dentist?

6. The images at the end, the industrialisation of the world, the pollution of the world? The contrast with optimism, the aerobics exercises? Relationships?

7. The woman doctor, her interviews, her role in the hospital, making tea for the client, her going out, the flowers, the man selling the flowers, the orchids, her going into the area with the trees?

8. The men doctors, their military background, their careers, their work? With patients? The doctor with the women who were haematologists, the discussions? Their relationships? Sexual?

9. The dentist, his clients, the monk? His singing career and the CD?

10. The monks, their world, isolation? At the doctor, at the dentist? The young monk and his discussions with the dentist? The old monk and his ailments?

11. The range of background characters, in the hospital, the elderly women and their role, on TV, the drink? The discussions about illness and blood?

12. The Thai background, particularly Thai – or universal? The overall impact of the film, emotionally, intellectually?

THE SENTINEL

US, 2006, 108 minutes, Colour.
Michael Douglas, Kiefer Sutherland, Eva Longoria, Martin Donovan, Richie Coster, Kim Basinger, Blair Brown, David Rasche.
Directed by Clark Johnson.

Most audiences like a political thriller now and again. Most audiences should enjoy The Sentinel.

It is based on a novel by a former US Secret Service agent, Gerald Petievich. Lawyers like John Grisham and Scott Turow have taken to using their vast professional experience to write exciting novels which incorporate a great deal of background information about the law and its application. Perhaps Secret Service agents have to retire first or they might be accused of revealing secret methods and techniques.

Screenwriter, George Nolfi, not only adapted the novel but spent a great deal of time on research about the Secret Service, its ethos and activities. Much of it is up there on the screen, a great deal of detail about the day by day work of the agents, especially in guarding the President, as well as the skilled work of the detectives investigating plots against politicians.

Basically, The Sentinel is a thriller about a veteran agent who was wounded during the assassination attempt on President Reagan in 1981. He is played by Michael Douglas with his usual aplomb. The twists of the story reveal him as weaker in character than he might have thought leading him to become the chief suspect of being a mole in the White House in league with a terrorist organisation with plans to kill the President.

Douglas has also fallen out with his former close friend and investigative associate, played by Kiefer Sutherland as a very, very straight arrow who follows all clues no matter where they lead. And they lead to Douglas. Sutherland has a higher profile in Hollywood these days because of his success in the television series, 24 (and his recent Emmy award). His efficient rookie assistant is played by Eva Longoria who has also become prominent from television and her role in Desperate Housewives. (This role is quite different.)

In these years of concern about terrorism and people affected by fear (and even paranoia), it is reassuring to know that there has never been any agent guilty of treason in the history of the Secret Service. We appreciate what security is like as we watch what might seem to be a simple visit by the President (David Rasche) and the First Lady (Kim Basinger) to a local Washington school. Organisation and logistics must be horrendous to manage.

We see the briefings, the continual radio contact between agents letting each other know exactly where their VIPs are and what they are doing. Then there is the fleet of cars, the drivers, the guards (generally in suits and dark glasses) and the constant vigilance. The climax of the film and the assassination attempt are made at a G8 Conference in Toronto.

While this kind of almost documentary background briefing is interesting in itself, it is there for the context of the plot and the investigation. When Michael Douglas’ veteran agent finds himself framed, especially after failing a polygraph test for all agents, he goes on the run in the tradition of the lone American hero. Needless to say, he is generally able to stay one step ahead of his pursuers. Needless to say, he also gets the evidence to prove his innocence.

One of the interesting aspects of watching any film that focuses on the President of the United States, whether it be the long-running series on television, The West Wing, or a Tom Clancy thriller like The Sum of All Fears, is imagining how recent presidents actually cope with this constant barrage of information and need for political savvy and diplomacy.

1. The popularity of this kind of political thriller? Topical? The traditions?

2. The thriller after September 11? America, the war against terrorism, danger for politicians, the need for greater security? The role of the Secret Service?

3. The locations: Washington, DC, the White House and interiors, the offices of the Secret Service, the visit to the school, the Toronto settings, the Maryland countryside? The musical score?

4. The title, the Secret Service, Pete Garrison as a sentinel of the past? Dave Breckinridge as the sentinel for the future?

5. The credits, the terror messages, the quantity of them, the irrationality? On Breckinridge’s wall? His need to investigate them?

6. The prologue, the assassination attempt on Nixon, Pete Garrison being wounded? Faithful service, integrity, the passing of the years, his not having promotion? His status, the quality of his work, finding his level of efficiency? His teaching others?

7. The Secret Service officers, Pete and Tom, Bill Montrose, Pete’s life, alone, the divorce, rising at 4.00am, the exercise, arriving at the office, talking with friends, the chat, the briefings for the day, the camaraderie?

8. The visit to the school, the logistics and management, the cars, the radio contact, waiting, looking at suspicious characters in the crowd? The teachers, the meetings, the kids singing, the multicultural group, the autographs by the president, the speech by the First Lady? Pete’s diplomatic comments on her speech?

9. The president as a person, type, up in the morning, the confidential dossier, the bedroom, separation from his wife, the estrangement, posing for the public, holding hands? Her going to the beach house? Her staff? Asking Peter questions? The sudden impact of the affair, their concealing it, the tension, the photos and the blackmail, her decision not to tell her husband?

10. Pete and his friend, the agent who was shot, the news, going to visit his wife, the conspiracy against the president, the audience seeing the killer? The information, the informant, the money, surveillance by the terrorist group, the alert, the desk and the photos of the affair arriving, the contact in the café, his long weight, being trailed by the FBI, trailing them, the suddenness of his arrest?

11. Dave, straight up and down, his broken marriage, suspicions of Pete? His taking on the rookie, criticising her for being late? His diligence in his work, following up clues, always on the case? His being appointed for the investigation, unlimited staff? His suspicions of Pete and his targeting him? The failed polygraph?

12. Montrose, in charge, serious, the logistics, with the president and in his trust, supervising the polygraphs (and not taking one himself)? Pete and the polygraph, reluctantly agreeing to go, his lies, the failure – grounds for his arrest?

13. Xavier, the informant, his past record, the stakeout, the mall, the photographs, the assassin with the gun, the attempt on Xavier? The chase? Dave and his assistant helping?

14. Dave, coming to the house, arresting Pete? Pete and his quick thinking, the escape, the loner, using his ingenuity, disguise, the cab, going to the office, visiting Xavier’s mother, tricking her about the phone, getting the number and the contact? The car chase? The old boat, his eluding Dave? Dave shooting him? Unable to shoot him finally – the criterion for an officer? Going to the dinner, Sarah and her guests, going to the toilet, the discussion? His finding the apartment, the confrontation, the shooting, the fingerprints on the glass? Everything cleaned up when Dave went to investigate?

15. Dave, the accumulated evidence, believing, going to visit the First Lady, her telling the truth? His not being able to shoot Pete? Going to study the prints, the information?

16. The G8 conference, the president going, Sarah staying behind? Her telling Dave the truth? Toronto, its landscapes, the hall, the meetings, the delegates, the speeches? Discovering Bill Montrose and the head of the gang, the gang itself, its background from the independent Russian republic? The issues? The gang, the phone calls, the blackmailing photos? The blackmail as regards Bill’s family, his past with the KGB? The plan to kill the president, the speech, the liberal views, his being hurried out, Sarah knowing the password, getting them through? The escape, the shooters, the criminals disguised as police, the leader taking Sarah hostage, Pete shooting him?

17. Pete packing up, Dave and his wife reconciled, the rookie not a rookie any longer, Pete and his friendship, leaving the Secret Service?

18. The film with its Secret Service background, insights as to security and guarding, investigations?

SIXTY-SIX

UK, 2006, 93 minutes, Colour.
Gregg Sulkin, Helena Bonham Carter, Eddie Marsan, Stephen Rea, Peter Serafinowicz, Catherine Tate, Ben Newton.
Directed by Paul Weiland.

What a pleasant surprise! It has not been trumpeted as a British film to see, but it is one that will bring a lot of memories and happiness to many adults. It will also bring some empathy for the Jewish community in North London. It is not such a laugh out loud comedy but one that should keep a smile on your face most of the time.

The title actually refers to the year 1966. For football fans (especially emotional after the performance of the side in 2006), it was the year when England won the World Cup. For the hero of our film, thirteen year old Bernie Rubens (the first film by non-actor, Gregg Sulkin, who is completely convincing), it will ultimately be that fateful and wonderful day. But in the short term, it is to be the day of his Bar Mitzvah and the celebration afterwards when, at last, he will be the centre of attention. The long trail to his modest and sorry celebration is what this film is about.

The final credits have old footage of a past Bar Mitzvah and it is not hard to guess that it is that of the celebration for the director himself, Paul Weiland, forty years ealier. (It is acknowledged in those credits to Uncle Leonard!) In fact, Weiland had the experience of his big day being the World Cup final day. And it his film was shot in his old school and at the synagogue where he had his own ceremony. His mother supplied a lot of the detail for the family home in the film and coached Helena Bonham Carter as Esther, Bernie’s mother.

Actually, the football theme doesn’t come in immediately but, when it does, it pervades the story. The important thing is that we get to know the Rubens family. Bernie is the boy that no one at school wants to pick for their football team – the boy with polio is selected before he is! At home, he is almost invisible. His older brother gets all the attention (and has his home movie of his elaborate Bar Mitzvah party to prove it).

Not that Bernie’s mum and dad are all that bad. For a number of reasons, they take him for granted.

Dad is the older of two brothers, Manny and Jimmy, who run a grocery in the market. Jimmy attracts the customers and keeps them entertained. Manny has no sense of humour. His toast at his niece’s wedding is very funny as he goes through all the family dead (and the causes of death) who would like to have been there. Then come the new supermarket entrepreneurs and the grocery store is doomed.

Manny (a perfectly lugubrious performance by Eddie Marsin, who appeared as the hanged friend in Pierrepoint) is doomed to accidents and failure and we do feel for him despite his woes. These distract him from Bernie’s education by the Rabbi and his elaborate plans for his celebration, having to whittle them down as each disaster strikes.

Stephen Rea appears as Bernie’s doctor who diagnoses Bernie’s asthma and is very friendly, a great football fan but who has troubles of his own.

Bernie follows England’s progress towards the final with disbelief. Everybody told him they couldn’t get there – and then make excuses so that they cannot come to his party and can stay home to watch the TV.

You keep wondering how it could possibly end happily, but it does – and very nicely, affirming father-son relationships and the warmth of family being together.

1. A pleasing film? Interesting? Entertaining? A slice of English life?

2. The film as autobiographical, the life of the director, authentic feel, memories, sadness, humour?

3. The tone of nostalgia, family life, Jewish background, sport, patriotism?

4. The title, the look of 1966, the sound, issues?

5. The re-creation of period, North London and the streets and houses, the markets, the synagogue, the school, Wembley Stadium?

6. The songs of the period, accompanying the characters and their experiences? Memories and nostalgia?

7. English devotion to football, the United Kingdom, the team, 1966, the victory, the forty years in between, the 2006 World Cup and hopes, the English side, progress? The television footage, black and white and colour? Inserted into the film? The build-up the final? Patriosm, flags etc?

8. Bernie, the introduction, not being picked for the team? At home at meals and his not being noticed? His not being in the car, lost, in the water and shouting? His family loving him but…? At school, bullied, his brother riding him at the sports day? His brother’s rules in the house, not allowed on the carpet, shooting at him at night when he went to the toilet? The effect on Bernie’s psyche?

9. The build-up to the bar mitzvah, the rabbi, the introductions and explanations, the questions, the inspiration? The aims of a bar mitzvah, the training? Bernie alone while the others had their fathers, the fathers explaining their self-sacrifice for their children, their pride? The rabbi, his character, blindness? His talking to Bernie, rationalising the situation for him – and Bernie going out the door? The final ceremony? His presence at the celebration?

10. Jimmy and Manny, managing the shop, Jimmy with the jokes, keeping the customers, Manny and his seriousness? The supermarket opening, the executive coming with the offer, the discussions, Manny and his seriousness, refusal? The wariness of the tax man? Keeping his savings in cash under the bed? The irony of his wanting to buy a shop, the tax returns to be examined, the possibility of prison? The final disaster with the rocket coming through the window, burning his cash?

11. The wedding sequence, the family at the wedding, Manny and his preparing to make the speech, everybody commenting about his lack of humour? His speech, his going through the family and their illnesses and death? The boys and their attitude towards their father and desperation? Esther and her loving him? Lilah and her cooking? The spirit of the family?

12. The plans for the bar mitzvah, the footage for Avi’s bar mitzvah, the elaborate celebration, Avi as the centre of attention, Bernie being shunted out of the way all the time? Bernie and the voice-over, his explanations to the audience, in the garage, the invitees, the seating arrangements, the gradual build-up? With his friend and the testing of the drinks? The gradual reduction, the eventual disappearance – and his family finally coming to the garage and seeing what he had hoped for?

13. England in the World Cup, the various matches, the build-up to the final, the enthusiasm for football? Bernie and his watching the matches on television, trying a bit of voodoo, being reassured that they would not get into the final, people then giving excuses not to come, Doctor Barrie and his enthusiasm for sport?

14. The character of the doctor, friendly, diagnosing his asthma, helping Bernie, the examinations, the exercises, his wife going with him to the pictures, Bernie seeing his wife and her infidelity and hidden in the cupboard, the end and his going to the doctor, the doctor’s sadness?

15. The selling of the shop, the supermarket and its success, the people queuing? Jimmy and his interest in shoes? Many and his ulcer? Jimmy and the deal, Manny going to work for him?

16. Manny, his character, morose, sitting at the table in his underwear to avoid stains, locking the car and rechecking, the heater in the boys’ room? His sons’ reaction? Esther and her devotion to him? The family supporting him? His love for his sons? Taking Bernie out for the day, the kite and the dog mangling it, the dog on the car? The sadness? His seeing Jimmy and his wife together, suspicions?

17. The planning for the limited bar mitzvah, the visuals of where it might have been, Bernie seeing it reduced in his imagination? The going to the Catholic hall? The Irish band and their comments – and their later being at the bar mitzvah, playing Irish tunes, then changing?

18. The build-up to the day itself, the beauty of the ceremony, Esther and her pride, Manny and his satisfaction, the rest of the family there (with Jimmy in the wheelchair after the accident with the sign)? The party at home, the poor number of gifts, the people who thought their invitation hadn’t come, the dog excrement, the smell, the lining up for the photos, Bernie gone to see the doctor?

19. Manny, the burning of the house, his dismay, the loss of the money? His collapse? His going to the shop after writing the notes, his finding Jimmy and his accident, going to the hospital, wanting to go in the ambulance, not wanting the letters delivered? His reconciliation?

20. Manny going to find Bernie at the doctor’s, trying to make up to him, the decision to go to the final, the carefree attitude, speeding, the Scots policeman giving him a ticket, finding his friend the tout, getting in, the happiness of the success of the England team against Germany?

21. The finale, the family together, playing in the yard, the bonds between them? Bernie and the happy memories of his bar mitzvah day and the bond with his father?