JANE DOE

US, 1983, 100 minutes, Colour.
William Devane, David Huffman, Eva Marie Saint, Karen Valentine.
Directed by Ivan Nagy.

Jane Doe is a thriller set in Vancouver. It involves a killer, details of police work, a victim who is suffering from amnesia.

William Devane is competent in this kind of role as the police investigator. There is support from Eva Marie Saint as a doctor.

The film was directed by Ivan Nagy, Hungarian-born director who worked in Hollywood mainly in television.

1. Entertaining thriller? Realistic? Murder story and investigation?

2. The use of the city of Vancouver, buildings and streets, police precincts? Atmosphere? The musical score and its mood?

3. The title, the anonymous woman, the feminist touches? The experience of amnesia?

4. The situation, the grave, the police, the recovery of the woman, the hospital and reviving the victim?

5. The character of Quinn, his skill at his police work? Meeting the press? Interaction with the doctors? The situation of Jane Doe? His superiors? The questions, the husband, protection, the shock, the grave, the suspect and the line-up? The build-up to the finale? His character and idiosyncrasies?

6. Jane and her situation, in the hospital? The questions? Her amnesia? The interaction with Quinn? The doctor, hard, wanting trust? Her wandering around, seeing the paper? Consciousness, amnesia? Her husband, home, the bonds? Her continued puzzle, the nightmares and memory? Attempts to kill her? The other murder, the grave, the shooting? The line-up? Leaving with David? The confrontation and the ending?

7. Jane Doe, the anonymous woman, her life, her life gone, the puzzle, the attempts to recover it, therapy, shock?

8. The killer, type, loner, violence? Home? Reacting to the mistake? Killing the jogger? The shooting, the arrest, the line-up? The first-rate mind – and police work? Madness?

9. David, sympathetic, helping, going to the grave, the end – and the murder twist?

10. The details of police work, the limits of the police and their abilities, failures? The authorities?

11. The doctor, sympathetic, the therapy?

12. A television-style story, smooth storytelling, reality, memory, the devices for memory – and the twists in the plot?

JERSEY GIRL

US, 2003, 108 minutes, Colour.
Ben Affleck, Liv Tyler, Raquel Castro, Jennifer Lopez, George Carlin, Mike Starr, Steven Root, Jason Biggs, cameos: Matt Damon, Jason Leigh, Will Smith.
Directed by Kevin Smith.

Has Kevin Smith undergone a transformation or, even, a conversion? Well, no. Those who are afraid that his moving into romantic comedy and family drama may have altered his perspective on life (well, it has, really) will be reassured by the constant bodily function jokes, sexual references and an underlying tone of irreverence. Matt Damon and Jason Lee have a satirical scene. However, audiences will not have seen so many statues of Mary and cribs in a film for a long time. Kevin Smith is still highlighting Catholicism. That said, a review needs to focus on the romance and the family.

Kevin Smith has become a father in real life. This seems pretty obvious while watching the film. He is positively doting on the little girl, Gertie, in the film. He is also looking at the responsibilities of parents, especially fathers. (At the end, apart from the first credit to God whom Smit acknowledges as still interested in him, the dedication is to his own father, recently deceased.)

After Dogma and Jay and Silent Bob Strike Back, many critics hoped that these would be the last of his ‘adolescent joke’ films. They wanted him, even urged him, to grow up. Now that he has changed tack in themes, they decry his selling out to Hollywood (at least to Miramax) and his wearing his heart on his sleeve.

This is certainly a romantic film. Ben Affleck (a Smith regular who responds better to Smith’s direction than to any other director) falls in love with Jennifer Lopez (in a rather self-effacing brief performance) who dies in childbirth. His father, George Carlin, a New Jersey council worker, takes care of the baby but urges his son to do his share. This becomes even harder when he bad mouthes Will Smith (who later turns up with a family-oriented little homily) and loses his job. There are some really tender scenes between Affleck and his daughter (which hard-nosed critics – probably more hard-hearted – loathed) which will appeal to parents.

Into their lives comes a vivacious student who works at the local video store. She is played very nicely by Liv Tyler – and the romance is not too obvious. Raquel Castro as the young Gertie holds her own with the adult cast – but she is quite precocious.

1. The work and popularity of Kevin Smith? Audience expectations of his subjects, style – the scatological and satiric approach? The criticism of his making what seemed to be a sentimental family movie?

2. The experience of parenthood, his dedication of the film to his deceased father? The decision to make the family film with a studio? Instead of independent?

3. Smith’s love for New Jersey, the detailed look at the neighbourhood, the streets and the houses, the council workers, the shops, the video store, the school? The school hall for meetings, for concert? The contrast with New York, coming to New York from New Jersey, the goal of living in the city? The big offices, the buildings and the streets? The contrast between New York and New Jersey? The musical score, the songs, the inclusion of Sweeney Todd?

4. Kevin Smith and his wearing his heart on his sleeve, the touch of sweetness? Yet the important themes of death, the jokes and discussion about bodily functions? Babies, sexuality, pornography, relationships? His focus on press agents, Hollywood, movies, celebrities – and the in-jokes about films, about celebrities? The cameos?

5. Kevin Smith’s religious background, the credit and his thanking God? The range of statues of Mary, the cribs, outside the house, at school, the hospital? The discussions about beliefs, God? The Catholic tradition? The nuns, their role in the parochial school?

6. The basic story, its niceness, the picture of the generations, the bonds of family? The significance of the absent mother, the devoted father? The father, the struggle between work and his care for his daughter, his presence?

7. The opening with Gertie telling the story, the glimpse of the school, the children reading out their essays? Her voice-over and commentary and perspective?

8. Gertrude and Jennifer Lopez’s vivacity, low-key but genial? Her love for Ollie? The quality of their relationship, the visits to New Jersey, Ollie’s dad and his liking Gertie? Their going out, the build-up to their wedding? Her pregnancy, the exhilaration of pregnancy, the difficult birth, her dying? Ollie and his grief?

9. The theme of grief, Ollie and his inability to own his grief, his grief taking hold of him, taking over, driving people away? His reliance on his father for looking after Gertie? The significance of the long monologue to the baby, his reflecting on what the death of his wife meant to him, the effect of having the child, her causing her mother’s death and his not wanting to think like that? His father overhearing him? His father, continually minding him, his father’s pals and their being uncles and Ollie criticising them? Their criticism of Ollie? Helping out, wanting to teach him, making him stay home, the sequence of his father on the tractor and refusing to mind Gertie?

10. Ollie, his work and his skills, his friendship with Arthur? The office, the hype of being an agent, the composition of tag phrases, slogans? The social life, the involvement in the world of celebrity? His being a tough agent? The effect of his grief, his hurting Arthur? His being late for the press conference, bringing the baby, the discussions about changing the baby and all the baby poo jokes? The assistant’s not wanting to do it? The background of Will Smith, the discussion about Men in Black, his career, Ollie downplaying it? His going into the press conference, his speech, his criticisms of the journalists? Their shock? His being sacked?

11. Arthur and his continued help, continually going for interviews, the interview with Matt Damon and Jason Leigh and their bet about whether he was the famous Ollie or not? His abilities as an agent, the importance of his persuading the crowd about the repairing of the streets? The years passing, Arthur getting him another interview? Will Smith’s arrival, their discussion about family?

12. Life at home, his discovering all that being a father required, presence, activity, patience? Love, talking to Gertie? His handling the situation where Gertie and the little boy down the street were playing doctors? Gertie remembering his saying about relationships? The uncles and their continued presence, her love for them? Gertie as a strong little girl, at school, wanting to go to New York and see Cats, the irony of her seeing Sweeney Todd, her decision to present a song from Sondheim at the school concert?

13. Going to the video shop, meeting Maya, her explanation of the survey? Her talking with Ollie, her frankness about his choice of videos, her apology on hearing of his wife’s death? Going to visit him at home, apologising? The lunch, the discussions about sexuality, the role of compassionate sex? Their going home, the shower, their being caught? Gertie and her talk, blackmailing her father? Maya and her vitality, sharing at home, playing with Gertie, Gertie coming to love her?

14. Ollie and the interview, the possibility of his missing the play? His anger with Gertie, blaming her for everything? Gertie and her anger with her father? The later mutual apology?

15. The play, all the children singing ‘Memories’ and their adoring parents? His racing to get to the concert, finding the streets which were being repaired on his recommendation, his arrival, performing on stage with his father, the uncles, with Gertie?

16. The lessons that Ollie learnt, the love of family, above all else? His relationship with Maya, the possibility of their marrying? His father and his happiness that his son had learnt some wisdom? The future, genuine bonds of love?

THE PURSUIT OF HAPPYNESS

US, 2007, 117 minutes, Colour.
Will Smith, Jaden Smith, Thandie Newton, Brian Howe, Dan Castellanata, Kurt Fuller.
Directed by Gabriele Muccino.

The title is one of the key phrases in American consciousness. This verbal icon from the Bill of Rights is considered a birthright by all Americans. Life, liberty and the pursuit of happiness.

The spelling in the title here comes from a graffiti statement on the wall of a childcare centre where Chris Gardiner (Will Smith) takes his son (Jaden Smith, Will Smith and Jada Pinkett’s son) while he goes out to try to sell the stock of bone density machines he has imprudently bought. The wrong spelling irritates him because he admires Jefferson but wonders whether the intention was to emphasise the pursuit while acknowledging that achieving this happiness might be impossible.

For most of the film’s running time, the achievement does seem impossible and the pursuit is so physically, mentally and morally demanding that the temptation to give up seems entirely reasonable.

Chris Gardener, without benefit of college education, has set his sights on becoming a stock broker. He sees himself as good at figures and good with people. And, despite everything, he has a deep-seated confidence in his dream and in himself. And he has an overwhelming love for his son.

The person he is not good with is his wife, Linda (Thandie Newton). Or, he is good, but she can’t take the uncertainties, the financial pressures, the hard life. She leaves. Chris then has to pursue his unpaid internship as a broker, trying to sell the bone machines at weekends (with his son tagging along), working less time than his fellow interns because he has to go across town to collect his son and bring him home and feed him.

And then things really start to go wrong! A genial man, Chris is imposed on by the supervisor and by friends. Tax troubles, an overnight stint in gaol for parking ticket non-payments, traffic jams delaying appointments, eviction from home, queuing and struggling to get into night shelters, a night in a railway station men’s toilet for father and son.

Audiences feel the pain of father and son, the bewildered five year old who is supportive but who really does not understand, the father who wants only the best for his son and cannot provide the basics.

Yet, the film seems positive at the worst of hazards, primarily because Will Smith is such an engaging screen presence and communicates a positive outlook on life no matter what. Working with his own son, there is a wonderful chemistry between the two that makes what goes on credible and palatable.

The events are based on a true story, set in San Francisco in 1981. Interestingly, it was the year of the popularity of the Rubik Cube – which becomes a symbol of focus and perseverance as well as intelligence as Chris demonstrates he can solve the puzzle, to the amazement of a top broker, who gives Chris a chance to learn the trade.

So, it is, as they say, an inspirational story. With the pursuit of happiness and happyness, the tone is particularly American. It tends to presume that one can pull oneself up by one’s bootstraps no matter what. It urges the audience never to lose sight of their dreams and believe in them. It is more than a touch capitalist in its philosophy while focusing on real and heartfelt social difficulties.

The director is an Italian, Gabriele Muccino, who directed L’ Ultimo Baccio, which was turned into an American vehicle for Zach Braff with the title, The Last Kiss. Muccino brings a warmth to the difficult events that makes us want to share them with father and son.

1. A vehicle for Will Smith? The response of the Will Smith fans? The Declaration of Independence and the title, human rights, American rights, the emphasis on pursuit, achievement of happiness? The spelling of happiness?

2. Based on a true story, the information at the end? Inspirational film? Difficulties, overcoming difficulties, achieving dreams?

3. San Francisco in 1981, the poorer areas, the wealthier areas, the shelters for the poor, the affluent homes, the sports arenas, the buses and the streets? The business world?

4. The musical score, the songs, the lyrics? Echoing the period? The 80s atmosphere, the Rubik Cube – and the Rubik Cube becoming a symbol for achievement? X-ray machines?

5. The themes of fathers and sons, parenting, love between parents and children, issues of custody? The father and the mother? The mother walking out? Poverty, hard work? Exasperation? Linda and her being unable to be happy, her decision to go to New York, trusting that Chris would bring up Christopher well? Blame or not?

6. The portrait of Chris Gardner, Will Smith’s type, screen presence? His reference in the voice-over to the times of his life? With Christopher, depositing him at the day-care centre, his attempts to sell the x-ray machine, meeting the doctors, failure, his courtesy? His continually carrying the machine? Picking up Christopher? The issues of the rent, the bills? The flashbacks to his buying the machines and their being delivered and stored? Happier days? Linda, at work, working hard, the phone calls? Chris and his dreams? Linda spurning them? His wanting to be a broker, talking to the brokers? Going into the building? The encounter with Twistle? Getting into the taxi, the Rubik Cube, his ability to solve it? His painting the house, the deadline for the meeting, the bad luck? His going to jail, covered in paint, the parking fines and the previous scenes with his leaving his car? The interview, his soft talking, explanation of why he was dressed as such? His being accepted? The discovery that there was no salary during the apprentice times? His wanting to back out, his precarious position, Twistle wanting a decision?

7. Issues of money, debts, rent, the inability to sell the machines? His going out on weekends? Christopher accompanying him? The meeting with Walter Ribbon? His failure to meet the deadline, having to park the car for Frakesh, the traffic? His going to the house, meeting Ribbon? The discussions about the game, going to the box? His inability to persuade him about finances? His going home, wanting the fourteen dollars from his friend, demanding it?

8. Being ousted, everything at the door? Chris and Christopher going to the shelters, the queues, being late, having to stay the night in the toilet, imagining it was a dinosaur cave? The shelter and his fixing the machine overnight, his joy in selling the machine? The night at the hotel, the bed, watching television, asleep?

9. At work, the authority figures, Frakesh and his demands, saving face? His having less time, picking up Christopher? The day-care centre – and the clash with the manager, the children watching Bonanza and Love Boat? Travel, his losing the machine to the hippie girl, pursuing her and getting it back? The old man in the street, thinking it was a time machine, his losing it in the underground railway? Seeing him again, getting it back? His continually running and chasing people?

10. Frakesh, character, the lessons, the hard work, phone calls to clients, not hanging up but pressing the button? Having to do odd jobs? The people that he met in Ribbon’s box, the later contacts, getting clients? Using his initiative?

11. The build-up to the exam, wearing the shirt, his being asked for five dollars and his lending it? His being called in, his success, walking in the street, weeping, his joy with Christopher?

12. The information about his later achievements? American dreams, people pulling themselves up by their bootstrings? Hope and energy? American dreams fulfilled?

PRIVATE HELL 36

US, 1954, 81 minutes, Black and white.
Ida Lupino, Steve Cochrane, Howard Duff, Dean Jagger, Dorothy Malone.
Directed by Don Siegel.

Private Hell 36 is a tough mid-50s film noir. It was also one of the earlier films directed by Don Siegel who went on to make short and sharp crime films, including The Killers, and then had a collaboration with Clint Eastwood with such films as The Beguiled, Two Mules for Sister Sarah and Dirty Harry. He also made a number of striking films in the 70s including Charlie Varrick and The Shootist.

The film was written by Collier Young and his ex-wife Ida Lupino, who takes the central role. It is also a vehicle for Steve Cochrane who died in an untimely illness in the mid-60s. Howard Duff appears as the policeman of integrity, tempted to corruption by Cochrane. Dorothy Malone has a rather sweeter role as his wife. Dean Jagger, whose character does the voice-over, is the police captain.

The title refers to a special box where dirty money is stored. It also, of course, refers to the private hell of a policeman drawn into being dishonest against his will, the dilemma for the Howard Duff character. Ida Lupino had made a number of black and white brief films including Not Wanted and The Bigamist. She went on to a career mainly directing television.

1. A film of the 1950s? Brief, black and white, tough dialogue, tough situations? A kind of film noir?

2. The black and white photography, the city, homes, the nightspots, the police precincts? The musical score? An authentic atmosphere?

3. The title, the private hell for Jack Farnham, the box with number 36, the key? The symbol for his own state of mind, being drawn into the dishonesty scheme?

4. The voice-over, Captain Michaels, his observation about crime in the city, detection, clues and leads? His own action with the two men? His sympathy for Farnham, suspicions of Bruner? The phone calls at the end, the set-up, his saving Farnham’s life? The role of the police?

5. Cal Bruner, the opening, his instincts, going into the shop, the confrontation with the gunman, shooting one dead? In the police precinct, his rather offhand attitudes, callous? His partnership with Farnham, their friendship? His visiting their home? Following the clues, the interrogations, the fifty-dollar note and its connection with a robbery, going to the racetrack, the interview with Lilli? With her so long at the racecourse? At the club, her song? Falling in love with her? The visit to the Farnhams, his taking the money from the accident, forcing Jack into complicity? The cover, the plans? Jack and his edginess? Cal and his taking Lilli to dinner, the embarrassment of the visit? Lilli’s concern? His offhand manner? The phone call, the man wanting the share? The plan for the shoot-out, the irony of his shooting Jack, his being shot – and it all being a police set-up? A portrait of a corrupt cop – his psychology, motivation?

6. Jack, the good cop, caught, the need for money? His love for his wife, the daughter? His being trapped, the tension at home, the discussions about buying the new dress, his being edgy with Cal and Lilli? The set-up, his being shot, the captain exonerating him?

7. Lilli, the goodtime girl, singing in the club, the fifty-dollar note, the interrogations? Her agreement to go to the racecourse? The love for Cal, company, visiting Jack and Francie, her being at home with them, with the baby? Her sensing the tension? Her realisation that Cal had dirty money? Her changing her mind about going with him?

8. Francie, the policeman’s wife, the continued tension? The daughter? Playing host to Cal and Lilli, enjoying their company, sensing the tension?

9. The criminals, robberies, murders, police records, alibis, lies and interrogation? The range of police work and its styles in the 1950s?

THE PRIMROSE PATH

US, 1940, 93 minutes, Black and white.
Ginger Rogers, Joel Mc Crea, Marjorie Rambeau, Henry Travers, Miles Mander, Queenie Vassar, Joan Carroll.
Directed by Gregory La Cava.

The Primrose Path was directed by Gregory La Cava (Stage Door and other dramas of the late 30s). It is a star vehicle for Ginger Rogers, during the year in which she won the Academy Award for Kitty Foyle. It is also a star vehicle for Joel Mc Crea, a popular lead of the 30s who was to make a mark in these years in the comedies of Preston Sturges. Marjorie Rambeau appears as Ginger’s mother and received an Oscar nomination for her sympathetic performance as mother and wife, a woman on the town yet caring for her family. Miles Mander appears as her husband.

The film is conventional enough, a picture of a young girl from a poor family who falls in love with a smart-talking assistant at a hamburger joint. They marry, but she does not tell her family. There is a final confrontation and the husband walks out on his wife. Between various difficulties, they finally manage to patch up their marriage.

The strength of the film is particularly in Ginger Rogers’ sympathetic screen presence, her romantic young girl, her being hurt by the reaction of her husband, her beginning to take the primrose path in revenge but, with the kindly intervention of a man-about-town, she is reconciled.

1. The popularity of this kind of drama around 1940? How well does it stand up now? Characters, dialogue, themes?

2. Black and white photography, the coastal town, Primrose Hill and poverty, the beach front and the clam pickers, the restaurants? An authentic atmosphere of the 1940s? Black and white photography, musical score?

3. The portrait of Ellie Mae, seen as a young girl, pigtails, tomboy? Her relationship with her mother, her alcoholic father and caring for him, her younger sister, her acid-tongued grandmother? Her wandering along the road, being picked up by Gramp, the meal, hearing Ed and his smart talk, her talking back, the infatuation? Her falling in love after he kissed her? Her dressing up, getting the clothes from her mother and grandmother? In the bar, Ed not noticing her, her tripping and falling, his coming to her aid, the discussion, the kiss, her feigning suicide? The wedding? Her leaving home and not telling anyone? Her father having urged her to leave home? The happy life, at work in the café? Smart talk? Her mother’s arrival, with the hose, the rich men, the people mocking her in the café? Ellie Mae’s anger, Ed not being able to understand? Her finally telling him, bringing him home? Her reaction to her father, the discord in the home, Ed leaving? Her going back, their clash, his going to the hotel? Her mother’s illness, Ed coming and being told that Ellie was in San Francisco, her not knowing? Getting help from Thelma, becoming an escort, going to the café and hotel to confront Ed? Mr Hawkins and his fears, in the cab, his signal to Ed, the reconciliation?

4. Ed, smart, repartee, serving people, at the hotel, the Portuguese girls? The attraction towards Ellie Mae, her girlishness, on the beach, the clams? With the Portuguese women? His not noticing her, her falling? Marriage, happy life? His not being able to understand about Ellie Mae and her moodiness about her mother? The visit, the aggressiveness of Ellie Mae’s father, mistaking him for Mr Hawkins? His leaving, his attempt to come back, the grandmother telling him lies? His drunkenness, with the girls, Ellie Mae and her dancing with Mr Hawkins? Her telling him off? Mr Hawkins and the discussion, the signal from the cab, the reconciliation – on the motorbike (and earlier the clash with the police)? The credibility of his motivation?

5. The Adams household, the quotation from Mananda, Ellie Mae’s father and his drinking, wanting to write the book, hopelessness, his love for Mamie, her going out on the town? His continued lapses, the accident with the gun, his thinking of suicide, Mamie’s death? His aggressiveness towards Ed? Mamie, goodtime girl, yet devoted to her family, presents, her talking with Ellie Mae, genuine sympathy, looking after Ed? The pathos of her death and final talk to Ellie Mae? Honeybelle and her age, wanting presents, hungry, cantankerous towards Ellie Mae? The grandmother, her viciousness, her lies to Ed? Her continued complaints, wanting Ellie Mae to marry a rich man? The need for food, hunger? Ed finally confronting her and her submitting?

6. Gramp, sympathetic, words of wisdom to Ellie Mae, to Ed?

7. Thelma, escorts, the good time, rich men? The wealthy men, Mr Hawkins, taking up the escorts – his fear of a fight, his good deed?

8. The popularity of this kind of romantic drama with edge?

PERFECT LITTLE MURDER

US, 1990, 100 minutes, Colour.
Teri Garr, Robert Urich, Susan Ruttan, Florence Stanley, Tom Poston, Jeffrey Tambour, Alex Rocco.
Directed by Anson Williams.

Perfect Little Murder is an entertaining telemovie, capitalising on what it parodies: the ins and outs of the absurd emotional tangles of soap operas as well as the kind of detection seen in such series as Murder She Wrote.

Teri Garr and Robert Urich are a couple who move to the suburbs. They have a clown figure as the communication link to listen to their baby – but it catches on to the conversations from a cordless phone and there are indications of murder. Teri Garr immediately goes about her own work of detection, with all kinds of soap opera theories.

After a frustrating time and the possibility of breaking up the marriage, she is proven correct. The supporting cast enliven their characters (who are not quite so psychologically coherent on reflection) and the murder is solved, not without threat to her life.

The film is entertaining, is a parody of so much of television and of television watching.

1. Entertaining comedy thriller? The satire on soap operas and the inclusion of sequences? The parody of murder mystery-solving series?

2. The move to the suburbs, the identical houses, the kind of lifestyle, comfortable middle class – and the selling of house and beauty products? The parody on the suburbs, the musical score?

3. The title, the planning of the murder, the listening in to the planning, the failed execution?

4. Marsha and Ross, their lives together, campaigning for social themes, their living together, the baby, the marriage? Moving to the suburbs? The reaction to the house, Cynthia and her intrusion? The overhearing of the murder plans? Marsha and confiding in Ross? His disbelief? Her going to the police, the reaction of Detective Locke?

5. Her plans for detection, the range of the connection, her drawing the map, becoming a saleswoman, meeting all the couples, looking for clues, the invitation to the barbecue, her dinner with her friends, the warnings? The continued overhearing of the plans? Her own involvement?

6. The frustration of Detective Locke, his patronising Marsha? His frustration at the visits? The finale and the arrests?

7. Cynthia and her husband, her not believing, Don and his being so reticent? His bewilderment listening to Marsh? The improvement in the sex life of the couple?

8. Don and Judy Hecker, Judy and her depression, addicted to soap operas, envious of people with jobs? Her being the suspect, going to her husband’s office and taking the tablets? His bluff front, friendly, desperate at Judy’s listening to soap operas, trying to warn Ross? The divorce, the irony that he was the killer, his attempt on Marsha, the motivation and not wanting to support Judy?

9. Judy Lipton and her husband, the athletic type and yet the cook, her deception about her job, not having the job, seeming innocent, telling the truth, arrested?

10. The near break-up of the marriage, Marsha’s eccentric behaviour, especially in leaving the doctor’s? Ross and his exasperation, at the motel? His coming back and the reconciliation?

HAVOC

US, 2005, 85 minutes, Colour.
Anne Hathaway, Bijou Philips, Shiri Appleby, Michael Biehn, Joseph Gordon Levitt, Matt O’ Leary, Freddie Rodriguez, Laura San Giacomo, Mike Vogel, Channing Tatum.
Directed by Barbara Kopple.

Havoc is a brief LA drama about two affluent girls who take up with members of a Latino gang and suffer the physical, mental and moral consequences. Bored teenagers take up with men who struggle for survival, are brutal and amoral.

The film has a very strong cast with Anne Hathaway (Princess Diaries, Ella Enchanted, Devil Wears Prada) getting down and dirty, so to speak. Freddie Rodriguez (Six Feet Under, Harsh Times) is the leader of the gang.

Direction is by Barbara Kopple, best known as a documentary director (Oscar-winning Harlan County Line and the biography of Gregory Peck). Not as insightful as might have been expected.

1. The background of the director? Documentary film-maker? Television episodes on police work? The combination of these for this teenage drama, melodrama? Observation of teenage life?

2. The Los Angeles settings, the affluence of Pacific Palisades, homes, schools? The contrast with East LA, the Hispanic areas, the homes and the streets, the clubs, the gangs? The songs and the musical score?

3. The title, havoc for the central characters – and the consequences of choices and their creating havoc?

4. The affluent young girls, being filmed by Eric, the home video and his editing it, his interviews? Alison and saying that she was bored? Their having nothing to do, the rich kids aping the gangsta style of East LA? Poses? Language, guns, sex? Alison and her relationship with Toby? Toby and his leadership? Alison and her friendship with Emily? Their being together, trying to be adventurous?

5. The character of Alison, at school, intelligent, her answers in class? The friendship with Emily? The relationship with Toby? Her relationship with her parents, their thinking the best of her, asking about her relationship with Toby? Her deceiving them? With Toby, Sam and the others, the fight with the gang, Toby and his brutality and bashing? Meeting up with Hector? The fascination of the drug world, Hector and his friends? Alison and her decision to go to the gangs with Emily? Her meeting Hector in the shopping mall, walking with him, discussions, trying to understand, ingratiate herself? Being picked up by the police? Taken to jail, interrogations, her parents getting her out? Going again, wanting to join the gang, the dice, the sexual encounter and initiation, her backing out at the end, Emily and her experience? Their going home, Emily and her talking to the police, Alison and the discussions with Emily, Emily threatening to kill herself, the razor blades, the pills? Her calming down? Alison and her not wanting Hector to be arrested? Having to face the consequences of her actions? Telling the truth to Emily’s family? To her own family?

6. Emily, a follower, with Alison? The other friends? With Toby and the gang? The fights with the East LA gangs? At school? Going with Alison, the dice, the sexual encounter, the rape? Her going home, the police, Alison trying to tell the truth, that it wasn’t rape? The reconciliation between the two?

7. Toby, his character, on-and-off relationship with Alison? Sam, the drugs? The other members of the group? At school, the bashing of the gang? Hearing the news about Emily? Getting the guns, going down to East LA? Threatening the women with guns, their fear, their backing off, passing the gang in the street?

8. Hector, his leadership, the drugs, tough, his brother? The encounter with the Pacific Palisades young people? The interest in Alison, at the supermarket and the mall, walking with her, talking? The meeting of two worlds? The arrest, in prison? The dice, the sexual encounter with Alison, her backing out? With Emily? His arrest? The other members of the gang, the decision for revenge, going to the Pacific Palisades, getting lost, the affluent houses, the police sending them back, passing Toby and the others in the car? The women in the group, in the house, their being threatened by Toby and the group?

9. The adult generation, not knowing what was happening with their children? Sense of responsibility? Discovery?

10. Eric, his film, the scenes, talking about being bored, Toby and the guns – and a parallel with what the director was doing in making this film, observing the life of teenagers in Los Angeles?

HAPPY FEET

Australia, 2006, 110 minutes, Colour.
Voices of: Elijah Wood, Brittany Murphy, Hugh Jackman, Nicole Kidman, Hugo Weaving, Robin Williams, Magda Szubanski, Miriam Margolyes, Elizabeth Daley.
Directed by George Miller.

Yes, the director is the George Miller who made the Mad Max films. However, he also directed Babe, Pig in the City. This is his first film since Babe. It is a cheerful show with an ecological message.

It is also another of 2006’s several animated films featuring the animal world, this one with an appeal to children and adults. The characters are mainly penguins. It is fortunate for Happy Feet that so many of its audiences will have delighted in The March of the Penguins and will feel very much at home in this penguin world, remembering the mating, the long winter march, the hatching of the eggs, the family reunions, the threats of the sea leopards…

The animation is bright and breezy, the camera continually on the move, the screenplay full of songs and quite a lot of happy feet tap dancing.

The dancing is all due to Mumble (Elijah Wood moving from Hobbit to Penguin), who fell on his head while in the egg, and who finds he cannot sing like all the other Emperor Penguins, especially his firend, Gloria (Brittany Murphy). Mum and Dad can sing because they are modelled on Marilyn Monroe and Elvis. Nicole Kidman voices and sings Mum like Marilyn and Hugo Weaving does an Elvis voice impersonation as Dad. In fact, the voice cast is top notch. Robin Williams goes zany again as Ramon, a Latino fairy penguin with attitude, as well as Lovelace who has set himself up as something of a guru for the fairy penguins. Williams has plenty of opportunity to be manic, enjoyable so.

Hugo Weaving has a Scots accent as the penguin elder who is conservative, resists change and exiles poor Mumble. Anthony La Paglia is the chief of the predatory birds. Magda Szubanski is the singing teacher and Miriam Margoyles the penguin diva. There are other predators as well as some menacing sea leopards (amongst whose voices we find Steve Irwin).

While the film goes back over the routines of the penguins in winter and summer and introduces the theme of their singing, there is also the theme of the lack of fish for sustenance, the sea leopards and the whales and Mumble’s discovery that the aliens in their fishing boats are depleting the waters.

But Mumble’s main talent, since he can’t sing, is that he’s got rhythm. And it manifests itself in his happy feet. The feet movement, the tap dancing rhythms and the music are quite infectious. You want to dance and prove that you have happy feet.

It all comes together at the end: the humans taking note of ecological needs, the penguins surviving – and all of them dancing.

1. The popularity of the film world-wide? Animation and style? Music and dance? Verve? The rhythms of Happy Feet? The environmental message?

2. Audience response to penguins, the popularity of the March of the Penguins, audiences, especially younger audiences, familiar with the background of penguins, the Antarctic, their migrations etc?

3. The Australian technical side of the film? US-oriented?

4. The environment, the penguins, their march, the long night, the icecaps, hunger, the sea leopards and their threats, the underwater sequences, the predatory birds? The world of the humans, machines? The zoos, the animals trapped, the tagging for environmental enquiry, the preservation of the penguins, green and environmental movements? International resolutions?

5. The picture of penguin life, the documentary style, the march, the mothers remaining, the fathers and their trek, holding the eggs between their webbed feet, the eggs – and Memphis losing Mumbles’ egg? The dangers? The return, the hatching, the finding of the mothers? The singing? The ethos of the group of emperor penguins? The small fairy penguins? Survival, threats?

6. Norma Jean and Memphis? The background and style of Marilyn Monroe and Elvis? Their abilities to sing – in Marilyn’s and Elvis’s style? Their love for each other, parents, talking, the process of the egg, the hatching, Memphis and the fall? Mumbles emerging? His inability to sing? His automatically happy feet? His ability to tap-dance? His being considered odd, his parents’ worried reaction, his father and his shame?

7. Mumbles, his character, his love for his parents, his friendship with Gloria? Going to singing school and Miss Viola unable to teach him? Mrs Astrakhan and her being a diva, her sense of failure? His continuing to dance? Noah the Elder and his dim view, condemnation? Mumbles finally being condemned and exiled? Mumbles and his meeting with the fairy penguins, with Ramon and the others, joining with them? Their going to Lovelace to find out the truth? The encounters and discussions with Lovelace? Finding that he was a fake? The adventures, the threats of the sea leopards, the birds and their threats? His adventures with the fairy penguins, the dangers? Struggles, finding the world of the humans? His being captured, to the zoo, his bewilderment in the zoo, walking into the glass? The children and the adults watching? His being returned, the tag, his joy, reunited with his parents, the community?

8. Gloria, the contrast with Mumbles, her ability to sing? Her songs? Sharing with Mumbles, wanting to share his adventures? Mumbles being protective of her?

9. Ramon and the fairy penguins, their Hispanic accents? Lovelace and his authority, his arrogance, his being unmasked? The plastic around his neck – and his being saved by Mumbles?

10. The community, all thinking alike, Noah and the elders, their authority, traditional and conservatism? Their having to change at the end – even to dance?

11. Mumbles’ return, the promise of the helicopter, the fish? The reconciliation? Memphis and his change of heart? Mumbles still not able to sing? The infectious nature of the dancing and the rhythms – the sound of the tap, everybody dancing?

12. The ecological message, tagging and preservation? The happy ending and everybody with happy feet – including the audience?

HER COSTLY AFFAIR

US, 1996, 90 minutes, Colour.
Bonnie Bedelia, Brian Austin Green, Roma Maffia, Joe Spano.
Directed by John Patterson.

Her Costly Affair is telemovie material, a romantic melodrama as well as a very cautionary tale.

It shows a professor (Bonnie Bedelia) who becomes infatuated with one of her students. We know that he is mad, a stalker with violent tendencies. This she discovers. The film is a warning about the consequences of casual affairs.

Bonnie Bedelia is convincing as the professor while Brian Austin Green is somewhat odd as the student.

The film shows the expected action, the seduction, the stalking, the fear and confrontation – especially when the student dates the professor’s daughter.

1. Popular television material? A cautionary tale?

2. The university settings, home, the countryside? Authentic? Musical score?

3. The title and its indication of theme and moral tone?

4. The introduction to Jeff, his murdering the professor? His appearance in class, reaction to Diane, his ignorance of Shakespeare, his talking about emotions? His inviting her out, the picnic, the target practice? The affair, the infatuation? His reaction to her wanting to break it off, phone calls, hanging up, stalking her? In class? His being hurt, violent reactions? Her wanting to break it off, the irony of his dating her daughter, turning up for the lunch? As the waiter and the dropped glass? The build-up to the confrontation, the violence, his arrest?

5. Diane, the brittleness of the marriage, her clashes with her daughter, the reaction to her husband? Classes, her course, her meeting with Jeff, the infatuation, going out with him? The affair? The target practice, the dropping of the drink at the social? Her discussions with the professor, wanting to change Jeff’s tutorials…? Her becoming bewildered, calling it off, her reaction to Jeff coming to dinner? Her trying to persuade him to counselling? Her discussions with Sally, advice? The violence, on the roof, being pursued? Telling her husband? The family reunion?

6. The husband, his patience with his wife, love for her, the reaction to the truth? His liking Jeff, rescuing his wife? The daughter, her cantankerous attitude towards her parents, her dating Jeff, bringing him home? The truth?

7. Sally, listening, advice? The professor, his admiration for Diane and her writing, her courses, his being upset about Jeff and the tutorials?

8. Popular ingredients, credible characters – or not? This kind of film as a warning and cautionary tale for the wide television audience?

HOME ON THE RANGE

US, 2004, 77 minutes, Colour.
Voices of: Roseanne Barr, Judi Dench, Jennifer Tilley, Steve Buscemi, G.W. Bailey, Cuba Gooding Jnr, Randy Quaid, Charles Haid, Patrick Warburton.
Directed by Will Finn and John Sandford.

With this film, Disney hand-drawn animation, which has prevailed for almost seventy years, comes to an end. Dreamworks and, especially Pixar Studios, have proved that computer animation is the present and the future.

What we have here is a rather old-fashioned story, with an old-fashioned look that is reminiscent of Clarabelle the Cow and of the Looney Tunes and their chases and slambang pratfalls.

It is the story of three cows who come from a dairy farm called A Little Patch of Heaven. Villains rustle cattle, want to buy out poor and helpless widows and give the west a bad name. We share the adventures of the cows, as well as their trying to get on with one another. Maggie is an interloping show cow, so is voiced with her kind of panache by Roseanne Barr. The lady of the farm, called Mrs Calloway, sounds like M, Queen Elizabeth and Queen Victoria because she is voiced by Judi Dench. Amusing with her New Age psychological observations and explanations is Jennifer Tilly voicing Grace. So, there are all kinds of adventures, perils and bonding till the cows come home.

Perhaps the plot and action will seem old-fashioned to today’s children. The adults can reminisce and enjoy the voices.

1. The last of the Disney hand-drawn animated cartoons? Its place in the tradition? The story, the style of sketching, the music? The end of a Disney era?

2. Audience enjoyment of the film? Its appeal to children? To adults?

3. The style of animation, the characters, the layouts, backgrounds? Action sequences? The introduction of the songs, their lyrics, the jaunty musical style?

4. The title, expectations of the American song, being home on the range, the nature of the range, the farms, the west, the changing west?

5. Patch of Heaven, the dairy farm, Pearl, her managing it, getting old, the animals, their devotion to her? The threat of foreclosure?

6. The cows on the farm, Maggie, the newcomer, brash, the voice of Roseanne Barr? Her past, the innuendo in her talk? The contrast with Mrs Caloway, Judi Dench’s cultured voice? Her wearing a hat, the lady of the farm, her condescending attitude, clashes with Maggie? The contrast with Grace, her New Age dialogue, her good nature? Her insights? Their going to the fair, the life of the fair, the reward, the cattle rustler, Alameda Slim? The decision to get the money, to redeem the farm?

7. Alameda Slim and his henchmen, the west, the sequence of the cattle-rustling? His hypnotising the herd with his yodelling? Their following him? Buck the stallion, his vanity, his being a fan of the bounty hunter, Rici? His going along?

8. The adventures of the cows, the flash-flood and its effect? The clashes between the cows, especially Maggie and Mrs Caloway? Slim, his going to the auction, pretending to be a land baron, his followers playing up to him, his wanting Patch of Heaven?

9. The jack-rabbit, the comic touches, memories of the old characters of Disney films and cartoons? The cows following Slim, the mine, the stolen cattle and their being loaded on the train? The attempt to capture Slim, their being captured themselves?

10. Rico, the bounty hunter, the betrayal of his honour, partners with Slim, Slim and his going to the auction?

11. Buck, his reaction, the confrontation with Rico? His helping the cows get back to the farm, the train ride?

12. The barnyard battle, Slim and his going into the train? The reconciliation between the cows? Pearl, the Patch of Heaven saved by the money?

13. The interesting gallery of characters in support, Wesley (and his being drawn like Steve Buscemi), his deals? Rusty the dog? Buck, his vanity, Cuba Gooding Jr’s voice? Randy Quaid as Slim? Junior, the buffalo? Jeb, the goat? The sheriff and his role in the town? The other animals at the farm, Audrey the chicken, Ollie the pig? Larry the duck?