DEADLINE

Australia, 1982, 94 minutes, Colour.
Barry Newman, Bill Kerr, Trisha Noble, Alwyn Kurts, John Ewart, Bruce Spence, Willie Fennell, Vincent Ball, Ernie Kramer, Noel Trevarthen, Kevin Miles, Carole Skinner, Brian Blaine, Sean Scully.
Directed by Arch Nicholson.

Deadline was made for television. It was written and directed by Arch Nicholson, who directed only a few films including Fortress, A Good Thing Going, Buddies, before his untimely death at forty-nine.

The film was a star vehicle American actor Barry Newman (Vanishing Point). He seems to be the token American. The leading lady is Trisha Noble. However, the cast is compensated by a number of stalwarts from the Australian film and television industry including Bill Kerr as the head of security, Alwyn Kurts as the editor of a newspapers, John Ewart as a cameraman, Bruce Spence as a computer expert, Willie Fennell as an old prospector affected by nuclear radiation, Vincent Ball as the prime minister.

The film is interesting as coming from the 80s in the light of subsequent decades and terrorism. An extortionist group wants to hold the government to ransom while planting a bomb for the destruction of Sydney. The head of security is hard-headed, the prime minister bewildered, the question of whether Sydney should be evacuated or whether this would cause unnecessary panic and deaths is a moot question.

Barry Newman as the reporter gets wind of the story, pursues it despite all odds, government interference – and is able to enlist the help of Trisha Noble and Bruce Spence before a split-second finale. While the style of the film is that of the telemovie and the suspense is that of the popular novel, the issues, especially in the light of the 21st century war against terrorism, more real than might have been expected at the time.

1. The impact of the film? Television entertainment? The freedom of the press? Investigations into government cover-ups? Nuclear terrorism? The role and response of government?

2. The Sydney settings, the New South Wales outback, the contrast between city and the desert? The special effects for the nuclear explosion? The musical score?

3. The title, the sense of suspense, the investigation, the discovery of the truth about the bomb, the time for its explosion? The split-second ending?

4. The outback, peaceful, the prospectors? The explosion and the shock? The ‘quake? The effect on old Alf? Watching? And his later suffering from radiation and dying in hospital? His giving the information to the media? The people in the outback? The revelation of the terrorists, their plan? Their hold over the scientist? His flat, the details and information? The bomb for Sydney – and the irony of where it was placed?

5. Barney Duncan, the American, television, womanising? Jack McGinty? and his getting him to report? His travelling to the outback, getting through security, discussions with Alf, getting him to hospital? In Sydney, the backing of the media? His friendship with Jillian, enlisting her help? His team and the filming? The encounters with the government? Towie and his computer skills, deciphering the code? The visit to the professor’s house, getting the information? Working out where the bomb would be? Confrontation with officials, the final meeting with William Ashby? The suspicions of the police? Almost hindering the defusing of the bomb? The aftermath? As a character?

6. Jillian, her work, assisting Barney, going with him, her contribution? Towie, his word, computer skills, getting phone numbers, the code, his unravelling it? Working out where the bomb was? His defusing it – and being shot?

7. William Ashby, dour, in control, conservative? The reaction against terrorists? His control over the prime minister? The contrast with the prime minister and his anxieties? The issue of evacuating Sydney? His advisers, his harsh manner? The change of attitude? The information about the bomb, about the escape of the terrorists in the plane, its disappearance? His final confrontation – and the cover-up? The political implications?

8. The role of the media, Sir Eric Pearce and his reputation on the news, his refusal to broadcast the situation? Barney’s frustration?

9. The contacts, the pubs, the media, phone calls, communications – all contributing to the solving of the problem?

10. The atmosphere of suspense, the possibility of the bomb going off, the destruction of Sydney? The terrorists? The perspective from later decades and this kind of terrorist threat?

DOMESTIC DISTURBANCE

US, 2001, 92 minutes, Colour.
John Travolta, Vince Vaughn, Teri Polo, Matt O’ Leary, Reuben Santiago Hudson, Susan Floyd, Steve Buscemi.
Directed by Harold Becker.

Domestic Disturbance is an entertaining thriller, not particularly memorable, but effective while it is on-screen.

It is a star vehicle for John Travolta, appearing as a boat builder, with a special bond to his son (Matt O’ Leary – Frailty, Havoc). When his ex-wife (Teri Polo) marries a successful businessman, played by Vince Vaughn, there is tension between the boy and his parents.

It soon emerges, for the audience, that there is something suspicious about Vince Vaughn’s character, especially when a criminal associate, played effectively by Steve Buscemi, turns up for the wedding. The boy then is a witness to a murder, is not believed by the police, is threatened by his stepfather, the whole thing building up to a melodramatic climax.

Vince Vaughn, who can be very good at comedy (The Wedding Crashers), is very good menacing and a villain. Steve Buscemi is also very good in his cameo role as the criminal associate.

The film is directed by Harold Becker who directed The Ragman’s Daughter in the United Kingdom in the early 1970s. However, all his films subsequently were made in his native United States including the adaptation of Joseph Wambaugh stories, The Onion Field and The Black Marble. He also directed Taps, Sea of Love, Malice with Nicole Kidman, City Hall with Al Pacino, Mercury Rising. He has two films planned with Al Pacino, a remake of Rififi as well as a story about Ruth Etting (the subject of Love Me or Leave Me with Doris Day and James Cagney).

1. Interesting domestic drama? Crime thriller? How well did the two elements combine?

2. The small town setting, the boat-building area, the factories, homes? Authentic? Police stations? The action at night? The musical score?

3. The title, audience expectations, the focus on the family and its break-up, the remarriage, the stepfather and his sinister behaviour towards his stepson? Violence?

4. Frank Morrison, as a character, his clashes with Susan? Their separation? Amicable? His relationship with Danny? Danny going to him in times of trouble? The arrival of Rick, Frank’s dislike of him? Accepting him? Ridiculing him with Danny but going to the wedding? The encounter with Ray at the wedding? Conversation – leading to further suspicions? Danny and the news of his mother’s pregnancy? His clash with his mother, wanting to go to his father, hiding in Rick’s car, Ray seeing him but being murdered, his escape? His going to his father, to the police – and their not believing his story? Rick and his mother coming? Rick and his sense of menace? His threats? The menace within the house, Danny trying to give the wallet to his father and warn him? Rick and his demands? The court case, Danny changing his mind, wanting to go with his mother and Rick? The pregnancy? The television news about the boat building going up in flames? His going to his father? The final confrontation with Rick? Rick’s death? His menacing Susan and Danny in the garage? His emerging unscathed, with his father and mother?

5. Danny, as a young boy, relationship with his father, his father’s being by himself, the tradition of boat-building, Danny wanting to be with his father? Explaining the story, his father not believing him, later believing it? Frank and his own investigations? His relationship with Diane, her support, her not wanting to be in the middle of the domestic squabble? His researches, the motels, the internet, finding out about Ray, going to visit the prostitute, the information, the sports support, identifying him? The information about his criminal record – and Rick’s photo? Rick discovering this? Rick having to act against Frank?

6. Susan, the clashes with Frank, love for her son, remarriage, pregnancy, her trying to keep the relationship with Danny, the shock of his story? Her coming into the house, after the news of the fire, seeing that Rick was burnt? Being terrorised, the loss of the child?

7. The police, listening to Danny, not believing him? Frank demanding an apology at the end?

8. Ray, sleazy, talk at the wedding, in the motel, with the prostitutes, putting the pressure on Rick, the money, seeing Frank around the town, saying he was deciding to stay, the phone calls, Rick taking him in the car, their discussion – and Rick stabbing him? Burning him in the furnace?

9. The combination of the ingredients of a murder mystery, crime thriller, with domestic break-up and domestic disturbance?

A DEADLY BUSINESS

US, 1986. 96 minutes, Colour.
Alan Arkin, Armand Assante, Jon Polito, Raymond Serra, Michael Learned, James Rebhorn.
Directed by John Korty.

A Deadly Business is based on a true story, on the testimony of its central character, Harold Kaufmann. Kaufmann was a thief who spent a great deal of time in jail. In jail he met Vitola, played by Jon Polito, who introduces him to Mob connections. The focus is on garbage removal, especially the emerging industry of removal of toxic waste. He is invited to set up a company, pressurise other companies by leader Charles Macaluso (Armand Assante).

The film opens with Kaufmann being assisted by police to give testimony against the Mob. The flashbacks show his emergence from jail, his early meetings with the Mob, his rising up with respectability, the pressure he put on various owners. It also shows his discovery that toxic waste was deadly and his change of heart. In the meantime he had begun a relationship with a middle-aged woman, Anne (Michael Learned). It is noted that this relationship is an invention for the film.

Kaufmann was able to use wires to communicate meetings and discussions by various Mob members and spent several years giving testimony.

Alan Arkin is very good in the central role. Armand Assante has no difficulty in portraying this kind of criminal. Michael Learned (Nurse, The Waltons) is a warm presence. The film was directed by John Korty who directed a number of films, especially films for television, including River Run and The Autobiography of Miss Jane Pitman.

1. An interesting drama? Based on events? Characters? The toxic waste industry? FBI investigations? Court cases?

2. The atmosphere of New York and America in the 1970s? The beginning of the toxic waste transfer industry? Mob connections? The FBI and the courts?

3. Performances, Alan Arkin as Harold Kaufmann? Seeing him being taken to the court, shielding his face from the television cameras? Being seen by Anne? The flashbacks, his background as a thief, so many years in jail, friendship with Vitola? Wanting to go straight on emerging from jail? The failure of the job, the woman supervisor and her disdain of him as a convict? His going to Polito, meeting Macaluso, getting the job? Going to meetings, the discussions, his clothes, putting pressure on various bosses? The threats? His confidence? At the hotel, meeting Anne, their discussions, the relationship? His love for her? His discovery about the truth of the danger of toxic waste? The crisis of conscience? His going to the FBI, wearing the wires, turning up in meetings, his finally being pursued? In the courts, Macaluso’s threat in the corridor? The meeting with Anne, his formally trying to put her off and not tell her the truth? The witness protection program, his love for her? His future and testifying?

4. Macaluso, New Jersey, toxic waste, the businessman, the Mob connections? His henchmen? His friendship with Harold, helping him? Letting him go to meetings? The final discussions, the FBI hearing, his arrest? His antagonism towards Harold at the end?

5. Vitola, the other criminals, Di Nardi, the connections with politicians, the buy-offs, elections and the contributions? The FBI agents, their listening in? Building their cases?

6. Anne, sympathetic, her background, the relationship with Harold? Not wanting just a weekend affair? His putting her off, her seeing him on the television, waiting at the courthouse? A future?

7. The impact of this kind of film in the 1980s when it was topical? The subsequent history of court cases of the Mafia? The continuing relevance of this kind of corruption of industry and politics?

DEAD IN A HEARTBEAT

US, 2002, 91 minutes, Colour.
Judge Reinhold, Penelope Ann Miller, Timothy Busfield.
Directed by Paul Antier.

Dead in a Heartbeat is a television movie focusing on a Seattle bomb squad expert, played by Judge Reinhold. Reinhold was very popular in the 1980s with many comedies including Beverly Hills Cop. Here he actually has another star role. He is matched by Penelope Ann Miller, who had a strong career in the early 1990s with such films as Awakenings, The Freshman, Carlito’s Way. Timothy Busfield (West Wing) plays a madman who is destroying patients of Penelope Anne Miller by making their pacemakers bombs. He is getting revenge on the death of his son.

The film builds up its tension, has Reinhold as a single father whose son is abducted by the madman, has Penelope Anne Miller as a very ambitious and rigorous surgeon who has to learn some humanity, especially in dealing with the emergencies of trying to warn people that their pacemakers were bombs.

The film doesn't shirk the reality of people actually being destroyed by the madman. However, it is not a film that should be recommended to people with heart trouble, let alone pacemakers.

1. An enjoyable popular telemovie with action and a dash of restrained romance?

2. The title, its irony? The reality of this kind of terrorism through pacemakers?

3. The Seattle locations, the roads, buildings, hospitals? The importance of the hospital atmosphere? The special effects, especially for the explosions? The musical score?

4. The plausibility of the situation, the computer expert and his skills in turning pacemakers into bombs? Access to people? Possible?

5. Tom Royko and his son, taking him to school, the bond with his son? The phone calls, helping him with his homework – and his final abduction, the insertion, the surgery and his surviving it? Royko and his expertise, his work with his associates? The examination of the first explosion in the car on the freeway, the subsequent explosions? The information about the pacemakers? His meeting with Dr Hayes, her antagonism? Her professionalism? The growing dangers, the phone calls and threats? The threat of fourteen people being killed, the threat of the child being killed at school – and that the victim was one of the mothers? The desperation of trying to defuse the bombs, the collaboration of Dr Hayes? The final confrontation with Franklin, the discussions with his wife and getting the background? The chase, the defusing of the bomb, the saving of his son? The humour of his asking to be added to the list of Dr Hayes’s friends?

6. Dr Hayes, her successful father and his advice? In the surgery, her not suffering fools gladly, her clash with the man she considered less than expert? Her work with pacemakers? The bomb threat and her refusal to move? The reality of the pacemakers being used as bombs, her making lists, discussions with her father? Her going to the airport and failing? The going to the school and the woman exploding? The searching of her list, making contacts? Her gradually becoming more human, the final surgery for Tom’s son? The finale and her agreeing to date Tom?

7. Franklin, the motivation of his son’s death, his relationship with his wife, his work with computers, near the hospital, sending the birthday cake, the phone calls? The final confrontation, merciless? His being defeated by Tom?

8. Tom’s assistant, his expertise, the defusing of the bombs, the investigations? The rest of the team?

9. The work of the bomb disposal unit, their skills? Work in hospitals, surgery, evacuations of the hospital?

10. A far-fetched plot given realist treatment?

DUEL AT SILVER CREEK

US, 1952, 82 minutes, Colour.
Audie Murphy, Faith Domergue, Stephen Mc Nally, Gerald Mohr, Susan Cabot, Lee van Cleef.
Directed by Don Segal.

Duel at Silver Creek is one of the many Audie Murphy westerns made during the 1950s. They are efficient brief westerns and stand up well today. This film is of particular interest as one of the earliest films directed by Don Siegel who went on to fame in the late 60s and during the 70s with such films as Dirty Harry and The Shootist.

The film shows mine claimers and their being persecuted by a gang buying up claims at cheap rates and killing the miners. The upright sheriff of the town (Stephen McNally) is tracking them down and gets the help of Audie Murphy whose father was one of the miners who was killed. Faith Domergue is a femme fatale, unscrupulous in her manipulations. Susan Cabot is the energetic young heroine.

1. The popularity of Audie Murphy westerns? The westerns of the 1950s? Plots, characters, conventions, straightforward?

2. The western setting, the open plains, the mines, the caves, the towns? Action sequences? Musical score?

3. The background of the mining claims, the gang, the pressure on the miners, selling, being killed? The Kid’s father and his death? The gang killing the old man in the town?

4. Lightning, the upright sheriff, being adored by Dusty? His wanting to catch the gang? His going to the town, his work, admiration of people? His return, the death of the old man? Suspicions on the Kid, his confronting him, making him deputy? His attraction towards Brown Eyes, seeing her in the town, her return, her working with her brother? The mining company? His being deceived by her? The gunfighter brought into the town? The confrontation with Johnny? The further detection, the killings, the taking of the gunman as prisoner, the set-up to pretend that he was in the prison, the lynching party, the abduction? Dusty and her being taken? The Kid and his suspicions? Lightning and the confrontation? The fact that he had been wounded, unable to hold the gun, the information given to Ringo? The final shoot-out?

5. The Kid, his age, relationship with his father, the mine, going to the town, the pursuit, the death of the gang member? His ability at poker, gambling, his reputation? The encounter with Lightning, his being made deputy? The encounters with Dusty? Her disregard of him? His suspicions of Opal, of Lacey? The work in the town, the cover-up about the lynching party and the rescue of the prisoner? His going with Lightning, the information about Opal, her telling the truth about Lightning’s hand? The confrontation with Ringo? The shoot-outs? The riding to Silver Creek, Dusty, his falling in love with her, the rescue? The confrontation with the gang? A future?

6. Opal, Lightning attracted to her, calling her Brown Eyes? Her style, elegance? The truth, her killing the prisoner after offering to be the nurse? Her going to the town, her control over Lacey, posing as his sister? Trying to get rid of Lightning, leading him on, the visits, the attempted shooting of him and its failure? Her pretending the place had been robbed, her learning about his finger, telling Ringo? Her being at the mine, the confrontation with Lacey, her death?

7. Dusty, young, tomboy, infatuated with Lightning, the interactions with the Kid, falling in love with him, going to the mine trying to be helpful, the shoot-out?

8. The supporting characters, the old man, friend of Lightning and his death? Ringo and his status around the town, being employed by Lacey, leading the lynching party, the final shoot-out? The characters in the bar, the employees of Lacey, the hired killer coming, the symbol of the gang? Lacey, smooth talker, the operation?

9. The popular ingredients of the opening up of the west, law and the towns, the miners? Law and order?

D2: THE MIGHTY DUCKS

US, 1994, 107 minutes, Colour.
Emilio Estevez, Kathryn Erbe, Michael Tucker, Jan Rubez, Carsten Norgaard, Joshua Jackson.
Directed by Sam Weisman.

D2: The Mighty Ducks is not simply a sequel to the successful Mighty Ducks but almost a replay of the original film, this time with an international competition.

Once again Emilio Estevez is the reluctant coach for the hockey team, he retires, is persuaded to come back, coaches ‘Team USA’ and gets his former players back. The usual things happen, difficulties within the team, clashes with the opposition (this time a team from Iceland!) but, of course, finally win the game.

This is routine American sports material, the coach coming in and saving the seemingly hopeless team, the type of film from the Bad News Bears series in the 1970s to Keanu Reeves’ coaching in .

The film is a Disney film and was criticised at the time for having its cake and eating it: saying that the only thing that matters is playing the game but always making sure that the team, despite every difficulty in the book, goes on to victory. It is also particularly patriotic American – with the touch of aggression towards teams from other countries. However, these political comments aside, it is one of those enjoyable motivational sports films for youngsters and family audiences.

1. The popularity of this kind of sports film? The underdogs? Their coming together, the work of the coach, the challenges, the victory?

2. The theme that playing the game is entertaining – but always the pay-off with the victory?

3. The American style of sportsmanship, the ice hockey team, the intensity of the training, the work of the coach, the setting up of the opposition as enemy? ‘Team USA’?

4. Gordon Bombay, his success with the Mighty Ducks, his injury? The consequences? Going home to Minneapolis? Jan, the work in the sports store? Charlie and his being in the shop? The past memories of the Ducks?

5. Tibballs, sports commentator, his persuading Gordon to come and coach Team USA? The Goodwill Games, the transfer to Los Angeles?

6. Charlie and contacting the members of the team, further recruits from Texas? Miami? The teacher, Michelle? The initial training and then the arrival in Los Angeles?

7. Gordon, attention paid to him, the apartment, luxury, Tibballs and his pressure with the sponsorship deals? The effect on Gordon, on the team?

8. The games, their success, the match against Iceland, the Iceland coach and his attitude? The defeat?

9. Russ, the Los Angeles young man, the challenge to play his team, roller blade ice hockey, the inner city? The experience, learning?

10. Gordon, the advice from Jan, team spirit, playing the game? The change in the team, the personalities of the players, their picking up tips, Russ joining them? His skill in spinning?

11. The final match, the drama, the editing and pace, the victory in penalty time?

12. The aftermath? Audiences enjoying the victory of the underdog?

THE DAY AFTER TOMORROW

US, 2004, 130 minutes, Colour.
Dennis Quaid, Jack Gyllenhaal, Emmy Rossum, Jay O. Sanders, Sela Ward, Austin Nicholls, Arjay Smith, Tamlyn Tomita, Ian Holm, Kenneth Welsh, Adrian Lester, Glenn Plummer.
Directed by Roland Emmerich.

Roland Emmerich is a German director who has made his name with Hollywood blockbusters, Stargate, Independence Day, Godzilla and The Patriot. In looking at that list, we realise that he has destroyed Washington by alien attack, New York with Godzilla trampling it, but took the side of the American Revolutionaries against Briton in The Patriot. Now he has the opportunity to create giant fissures in the Antarctic, ice storm Tokyo, have tornados uproot LA, have a tidal wave sweep through New York and, in general, destroy most of the upper half of the northern hemisphere.

It should be added that the special effects to achieve all of the above are some of the best to be seen.

While the disaster formula is as expected, the characters are rather one dimensional and there is the usual dialogue about threats and heroism. There is no time to think about this because something dramatic and exciting happens every 15 minute or so.

One of the differences is that it is nature which is destroying the world (aided, of course, by selfish and greedy humans) but that there is no hero this time to rectify everything. All that anyone can do is to die with dignity or try to help people to survive. This happens in Britain with Ian Holm and Adrian Lester as stoic scientists. The heroism is in scientist Dennis Quaid (whom the US government took too long to listen to) trying to get to New York to save his son (Jake Gyllenhaal, who actually manages pretty well without him).

The premise is rather interesting and challenging: global warming and the melting of the polar ice-caps mean changes in temperature in such warming currents as the gulf stream lead to freezing and a new ice age.

In 2004, Michael Moore’s Fahrenheit 9/11 attacked the Bush administration. The Day After Tomorrow is also highly critical. Kenneth Welsh’s obdurate Vice President, advocating economics over environment and looking and sounding very like Dick Cheney (against the Kyoto requirements) is the villain of the peace but, as refugees from the freezing US cross the Rio Grande illegally to find a new life in Mexico (!), he apologises. But, of course, this is disaster entertainment and fantasy.

1. The work of Roland Emmerich? His success with disaster movies? The impact of this film, as disaster movie, as environmental message movie?

2. The special effects, the weather, the Antarctic sequence, the plane turbulence, the tornados in Los Angeles, the huge wave in New York City – and the increasing storm and its consequences? Dramatic, realistic?

3. The plot, slight, the characters and their fitting into this kind of didactic disaster movie? Atmospheric musical score?

4. The plausibility of the plot, global warming and the explanations given, the change in the Gulf Stream and other warmth sources around the world? The freezing of the waters, the consequent storms? The erratic weather and the beginning of a new Ice Age?

5. The heroism in the film, personal nobility, the use of science – but, as different from other disaster films, the protagonists not being able to change anything about the weather or the disaster, merely show the best side of human nature?

6. The attitude towards the American government, the vice-president as resembling Dick Cheney, the attack on his obtuseness, the focus on economics rather than the environment? The irony of the death of the president and his becoming president, his broadcast, his admission of ignorance and his apology? The important issue of Americans trying to cross the border into Mexico and the welcome given by the countries of the Third World – and the implied criticism of American attitudes towards other countries and immigration?

7. The opening, the sequence in Antarctica, the research work, Jack, Jason and Frank, their work, the dangers, the fissure in the ice, losing the equipment, Jack and his leaps with the information, their having to save him? Their work together in Washington, the continued research? Jack and his going to New Delhi, his speech, the criticisms of the vice-president? The meeting with Professor Rapson? Their discussions? The work for the government, the boss and having to try to explain things to the government? To the president? The information, the advice about migration and evacuations? Jack and his relationship with his son, his son’s poor results, his going to New York, the lateness with the taxi, Jack and his promising to come to rescue Sam? His relationship with his wife, leaving her at the hospital? The three and their trek towards New York, the difficulties, falling into the mall, Frank cutting the rope and sacrificing himself? The gradual warmth, the sun coming out, getting into the library and being reunited with his son?

8. England, the research, the man watching Manchester United? Simon and his concern about his family, the child, wanting to see it grow up? Professor Rapson? The information about the freezing, ringing the US, giving information, having to stay, the final drink of whisky?

9. Lucy, at home with Sam, her concern about him, Jack’s absences? The photos? Her working with the boy with cancer, the non-availability of ambulances, her decision to stay with the boy, reading him Peter Pan? The return of an ambulance driver? Her being safe?

10. Sam and his friends, the turbulence on the plane, arriving in New York, their participation in the quiz? The aftermath, the dangers in the street, the rising water, getting into the library, survival in the library, the burning of the books (but the librarian wanting to save the Gutenberg Bible)? The librarian and her collaboration, the warmth? The street man with his dog? The police and the decision to move people on, Sam with the information from his father that they should stay inside? His ringing from the payphone and the rising waters? Laura and his relationship with her, talking to her, the kiss? The advice from Brian and not seeing him as a rival? Their friend and his abilities with radio and other works? Laura and the poisoning, going into the ship which had sailed along 42nd Street? Getting the medicine, being harassed by the wolves, the return to the ship?

11. The finale, the migration to Mexico, government in Mexico? The people in the northern part of the world dying from the cold? The survivors coming out onto the roofs of buildings and the determination to build a new world? The optimism and the belief in the resilience of human nature?

DE-LOVELY

US, 2004, 126 minutes, Colour.
Kevin Kline, Ashley Judd, Jonathan Pryce, Kevin Mc Nally, Sandra Nelson, Alan Cordunner, Kevin Mc Kidd, James Wilby, Peter Polycarpou.
Directed by Irwin Winkler.

Of course, that is a Cole Porter word and this is a film about Cole Porter, part biography, part portrait, part tribute.

The device used is that of having the aged Porter meet with a producer who wants to stage a musical about his life, the characters coming into the theatre to greet Porter and then beginning the play which will include a great number of his songs – which have been specially chosen to illustrate different phases of his life and his relationships. The film keeps coming back to the producer and Porter for comments about what is happening in the biography, for some re-assessment and for Porter to be able to reflect on his life.

Jonathan Pryce is the producer and has the opportunity at the end to lead the troupe in Blow, Gabriel, Blow. But the focus of the film is directly on Porter with Kevin Kline giving an often incisive performance, even commenting on Warner Bros 1945 Night and Day, the colourful and sanitised version of his life (with Cary Grant) that, if he could survive this, he could survive anything, especially the injuries sustained in a riding accident which led to almost thirty operations on his leg and eventual amputation.

But the two features of the film are his songs and his relationship with Linda Lee Porter despite his homosexual orientation.

There are plenty of songs worked into the plot and sung by a number of contemporary artists including Robbie Williams, Sheryl Crow, Alanis Morrissette and Elvis Constello. By the end one has a fairly comprehensive appreciation of his melodies, his witty lyrics, his constant theme of love, his ballads and his songs for shows culminating in Kiss Me Kate. We hear Night and Day, Under My Skin, Begin the Beguine, True Love, Anything Goes, De-lovely, What is this thing called Love, Let’s Misbehave and, poignantly, at the end of the film, In the Still of the Night as well as during the final credits, You're the Top by Porter himself (rather squeakily).

As regards relationships, the focus is on his love for and marriage to Linda, played here by Ashley Judd as a rather charming wealthy American aristocrat who knows what she is doing in marrying Porter, supports him, often with great difficulty, for around thirty years until her death from lung cancer (there is a great deal of smoking in the film). Porter's orientation was not public in those days. The film shows his liaisons as well as the potential for blackmail.

Porter's was an affluent world, a world rather remote from the struggles of everyday life. He lived for years among the 1920s expatriates in Paris. He had a very successful Broadway career. He also took well to Hollywood for a while (with a mock presentation of Be a Clown sung with MGM head, Louis B Mayer).

De-Lovely is probably of limited interest, younger audiences (unless devotees of golden oldie movies) may wonder about it all, but those who remember the musicals with fondness will relish it.

1. The Cole Porter heritage, music, lyrics? The film as a tribute?

2. Cole Porter’s life, American, celebrity, American culture? Personal life?

3. The theatrical device: the producer, his enthusiasm, the musical play, the characters assembling in the theatre, his being able to communicate, Cole Porter not being able to? Porter old, watching, delighted, curious, having no control? Looking at his life? The theatricality?

4. The moving back and forth to Porter and the director during the film? Porter’s changing attitudes, regrets, explanations?

5. The songs and the range: the credits, the title song? Seeing Porter composing, his skills at the piano, creativity, teasing out melodies? The visit of Irving Berlin and his encouragement? Berlin encouraging his being recommended for Broadway? The lyrics, the wit, clever, daring? You’re the Top, De-Lovely, Anything Goes, Let’s Misbehave, What a Swell Party This Is, Be a Clown? The love songs: the classics, the particular songs for Linda, for his own life, for the homosexual relationship, for example Love for Sale? So In Love for Linda’s dying? The range of performers for the songs – 21st century singers? Their interpretations?

6. Porter and his life in Paris, being away from the United States, his Indiana background? His lifelong friendship with the Murphys, their children (and Patrick’s illness and death, funeral)? Singing with Jerry, What a Swell Party This Is, seeing Linda leave? Thomas, the attraction, his courting of her, sharing talk, experiences, the marriage – and the disturbance with the tantrum of her husband?

7. Linda in herself, aristocratic, her bearing, singing True Love with one of the Murphy children? Her delight in being with Porter, his music? The smoking – and her later cancer? Knowing his sexual proclivities, accepting this, living with it? Sharing his life, the composition of the songs, Easy to Love? Her easy life, with Porter at the Ballet Russe and seeing the ballet dancer with whom he was having an affair? Living with his affairs?

8. Irving Berlin and the invitation to Broadway, the discussion about whether they should go or not? On Broadway, the rehearsals, his self-confidence but his doubts? The opening, the gift of the cigarette case – and Linda continuing this throughout his career? The increasing successes? His friendship with Monty Woolley in Paris, in New York, his procuring men for him? Singing Night and Day with Jack, coaching and encouraging him? The Central Park ride, the affair? Porter as an American success?

9. The going back to the old Cole Porter, the discussions with the producer, discussing Linda, the nature of their love, relationship, his loving her as much as he could? Her wanting to have a child, her illness, the blood? Her disappointment in his staying out all night?

10. the discussion about going to Hollywood, Linda seeing it as a new beginning, possibilities? Bobby Reed and his being an assistant, procurer, the discussions with Linda, the blackmail, the scenes at the club, kissing, the photos? Going to the studios, meeting Louis B. Mayer, singing Be a Clown? The films, Rose Marie, meeting Nelson Eddy? Mocking Mayer and his tears at the songs? His liking the Hollywood lifestyle? Linda not? Her leaving for Paris?

11. The accident, the horse falling on him, Linda’s return, no amputations, the number of operations, limping and with sticks? Trying to build a new life, Linda buying the house in Massachusetts?

12. The difficult years, the writing of Kiss Me Kate, the rehearsals and the singing of Another Opening, Another Show, So in Love? His rebuking of the singer, his affirming the cast? The play, his walking down the aisle, its success?

13. Linda’s illness, her death? Her getting Bill to be his companion and look after him? The scenes at the grave? The Murphys and Bill at dinner, his wanting to be alone, their leaving? His writing Can Can?

14. The end and his achievement? The love songs, What Is This Thing Called Love, and the perennial theme of love, Night and Day, Under My Skin? The cast arriving, the producer leading the singing of Blow Gabriel Blow? The return of Linda, the kiss, the narrowing of the focal light on the two, singing The Still of the Night?

15. The film as a piece of Americana, musical theatre, the world heritage of Cole Porter’s music (and listening to him singing You’re the Top during the final credits?

DEAR FRANKIE

UK. 2004, 105 minutes, Colour.
Emily Mortimer, Gerard Butler, Jack Mc Elhone, Sharon Small.
Directed by Shona Auerbach.

What might have been just another very nice picture of a deaf boy, his struggling single mother and their problems is a very simple and moving film experience. Andrea Gibb's screenplay keeps information back from us which helps us share the struggles and then understand them (especially in a very fine ending). Director and cinematographer (using Glasgow and coast locations) Shona Auerbach is able to keep the proceedings both realistic and emotional with Emily Mortimer credible as the mother (who says that she keeps writing letters from Frankie's absent father so that he will write – the only way she has some access to his voice), Jack McElhone? keeping just the right tone that avoids sentimentality as Frankie. Gerard Butler has the crucial role of the man who is asked to step in as Frankie's dad.

A small film but one which audiences will be glad they saw.

1. An engaging Scottish story? The Glasgow settings, the city and the wharves? Homes, shops? The water?

2. The moving story of a deaf boy, the boy and his appeal, audience interest and sympathy, curiosity as to how he and his mother would handle situations?

3. The title, the device of letters, Frankie writing to his absent dad, tracking on the map the journeys of his ship? The reality of Lizzie writing the letters and sending them to Frankie? Her comment that it was a way of hearing his voice? The impact of the final letter, on Frankie, on Lizzie?

4. The opening, the family moving, trying to settle in? Later information about their movement, Lizzie leaving her husband, taking her mother, her son? To get away from the violent husband? The fact that he had caused Frankie’s deafness? The newspapers and the articles and photos with Lizzie as a missing person? Lizzie and the photo of herself and her husband with his image torn away? The support of her mother? Her mother keeping the newspapers away from Lizzie? Making the phone calls? Finally Lizzie getting the information, arranging to meet Janet, their discussions, the issue of her husband’s violence? The decision to go? The encounter, her refusal for him to see his son? His illness, his vicious antagonism towards her? His saying that it was one mistake and her being unforgiving? Her finally bringing the drawing, the photo of Frankie, giving it to the nurse to give to her husband? The need of this kind of forgiveness, at least for herself and for her bringing up Frankie? The one serious error and the need for forgiveness after being cut off?

5. The initial visit of Frankie to the shops, getting the fish and chips, the note, Marie understanding that he was deaf, her friendliness? Not selling the cigarettes? Lizzie and her coming, her antagonism, Marie and her gentleness? The later discussions, friendship, Marie giving Lizzie the job? Lizzie and her desire to get some help for Frankie, especially with the information about the boat coming to Scotland when she had told him in the letters it was in South Africa? The stranger, Lizzie and the discussions with him, the mission, the promise of payment?

6. Frankie, his age, his coping with his deafness, his hearing aid, his giving the voice-over and the audience having access to his interior thoughts and feelings? Going to school, the head, the teacher and the welcoming, the kids asking about being deaf? His making friends with the girl, with the raucous boy? His being good at geography, knowing where Peru was…? His getting stars in the star competition? His capacity for friendship and sharing? The young boy visiting his room and looking around? The girl, the importance about the cupboard and secrets being hidden there, their looking in the cupboard – and being caught by Lizzie? The young boy with the information about the boat, the bet that his father would come to see him? Frankie willing to bet his stamp collection?

7. Lizzie, her coping with Frankie, with her job, with her mother? Her going out, looking for someone to be Frankie’s father? Her telling Marie, the man and the interview?

8. The day with the man, the immediate bond, his being a good man, the activities, the polished stone and skimming it along the water, eating at Marie’s, the vegetarian issue? The joy of the day? Going to the dance, the man singing, Marie, Lizzie and dancing with the stranger? His going to sleep? The next day, going to the boat, the stranger on the boat, coming down, the farewell? The gift of the seahorse? The effect of the day on Frankie? On Lizzie?

9. Lizzie watching the day, giving the money, permission for the extra time, the dance with the stranger, the kiss – and his not taking the money?

10. The news of her husband’s death?

11. The final letter, Lizzie at the post box expecting nothing, the letter, the explanation? Frankie realising the truth and writing to the stranger? A future?

12. A film about good people, their struggles, strengths and weaknesses, love and forgiveness, hope?

DEAD MAN

US, 1995, 120 minutes, Black and white.
Johnny Depp, Crispin Glover, John Hurt, Robert Mitchum, Mili Avital, Gabrielle Byrne, Lance Henriksen, Michael Wincott, Gary Farmer, Iggy Pop, Billy Bob Thornton, Jarrod Harris, Alfred Molina.
Directed by Jim Jarmusch.

Johnny Depp has emerged during the last five years as a strong acting talent, an actor who tends to choose offbeat and non box-office roles rather than mainstream movies. When one considers his performances in, for instance, Edward Scissorhands, What's Eating Gilbert Grape, Don Juan de Marco and Ed Wood, we see has built up an interesting film list.

Dead Man is a striking film that will please buffs but will probably be too slow-moving and boring for action audiences. It is written by Jim Jarmusch, whose small-budget but acclaimed films include Stranger Than Paradise, Down by Law.

This film has been shot in striking black and white photography. A young man, seemingly in search of a job, takes a train ride out west and comes to the end of the line (literally). Instead of getting his position, he becomes the victim of a diabolical boss and three murderous henchmen.
As he escapes through the wintry landscapes he befriends an Indian who teaches him wisdom and survival - and enables him to kill his pursuers. While using familiar conventions from the westerns (including Robert Mitchum at almost 80 as the boss), this is a journey with a dead man, a man going through a kind of purgatorial pilgrimage.

The ads say that it is `uncut'. There was hullabaloo at the end of 1995 when a five second scene led to the film's being refused a certificate. This seems an over-reaction. You would be hard put to consciously notice the scene unless warned. It indicates the hell town the traveller finds himself in. Intriguing, if violent, allegory.

1. The reputation of Jim Jarmusch, critical acclaim? Controversies about this film, its themes and treatment?

2. The black and white photography, the creation of an atmosphere, monochrome? Light and darkness? For the American west, for a kind of purgatorial journey? Neil Young’s score?

3. The title, the emphasis on dead, William Blake and his being dead or alive, going on a journey into death?

4. The opening with the train, Machine as its destination, the irony of the title? The passengers on the train, the range of people, the 19th century, dress and décor?

5. William Blake, Johnny Depp’s screen presence? The little man, prim, Patience? The train guard and their interactions, about the boat and the moving landscape? Coming from Cleveland, his recently deceased parents, not having a wife or fiancee? The train guard saying that out here was a road to hell? Going to the end of the line? His being an accountant? The information about Machine, no trust in Dickinson and his factory? The arrival, finding the grave? The shooting buffalo and the office – and his fear?

6. The portrait of Machine, houses, streets, offices? The end of the line, bones, people, potholes, animals, hunters, sex in the alleyways? The grotesque aspects of the town?

7. Dickinson and his squalid office? Robert Mitchum and his screen presence, age, talk? John Hurt as the accountant? The visuals of the factory, the office, the hunting trophies, Dickinson being gruff? The issue of hunting and the gun?

8. The accountant, his rejecting Bill Blake, laughing at Bill and his concerns about Dickinson?

9. Bill moving into the hotel, the whisky, Thel and his defence of her, in bed, the confrontation, his shooting Charlie Dickinson, his having to flee?

10. Thel in the mud, the drinking, the flowers, the bed and the gun, Charlie, his character, son of Dickinson, death?

11. Billy being shot, the question whether he was dead or not? His going out on his journey into the countryside? Nobody and his treatment of Bill, not being able to get the bullet, it being near Bill’s heart? His experience with Nobody (Nobody as an Indian angel)? The rituals? His accompanying Blake on his journey, his guns, the pursuit by the marshals? The confrontations, the killing of the marshals? The rituals, the fast and the visions? A vision quest ? The continued journey and its dangers?

12. The world of the Indians, Nobody and his talk, his having travelled to England, his education, being rejected by his fellow Indians? The tobacco, the knife, the feathers? Language? His role in bringing Bill to life, Bill reacting to his name, his being a true dead man? Quoting Endless Night?

13. The flashbacks about the spirits, the soldiers, jail? The cities and the people moving? Blake and his escape? Seeing the skulls, painting Blake? His thinking about Blake and saving him?

14. The three gunfighters, in the office, drawing their guns, being employed by Dickinson, their task, the travel? The shooting of the boy? The marshals? The personalities of the gunfighters? The cannibal gunfighter? His malice, killing the other two, devouring them?

15. The range of travellers, men and women? The stories about the killings? Bill, his clothes, the train?

16. The marshals, the image of western marshals, their task, the horses and the riding?

17. The continued journey to the land where the spirit belongs? Where the sea meets the sky? What destiny? The visuals of the goal of the journey?

18. The trading post missionary, his shop, refusing to sell tobacco, his racism? His religious hatred and comments about the heathens?

19. The vision of Christ, “Thou dost see in my greatest enemy…”?

20. The final shooting, the canoe, the Dead March, the two shot dead, the gunfighter and Nobody, dying on the shore, Bill Blake and his sailing out on the water – to a final destiny?

21. The philosophical implications of the film? About human nature, responsibility, sin and forgiveness? Charity and care? The theological implications about the nature of death, purgation, Heaven or Hell?