VARSITY BLUES

US, 1999, 106 minutes, Colour.
James Van der Veek, Amy Smart, John Voight, Paul Walker, Ron Lester, Scott Caan.
Directed by Brian Robbins.

Varsity Blues is a Texas football movie, focusing on a lot of play in a competition in a high school context. The film focuses on a football hero, played by Paul Walker (who was to go on to star roles in The Fast and the Furious and other action films). After his injury, he is replaced by James Van der Beek (Dawson’s Creek) who proves a success – from a pious family, he then is tempted to a rather wilder life but eventually confronts the coach and leads his team to victory. The strength of the film is in the portrayal of the coach, a veteran of thirty years who is unscrupulous in his desire to win titles, even injecting players with drugs for them to overcome the pain of their football injuries. He is played with intensity by John Voight.

The film was directed by Brian Robbins (The Perfect Score and other very popular youth-oriented entertainments). The film is raucous in its presentation of the wilder aspects of the Texas young men, a teacher who dances pole-dancing, drinking. There are some crass scenes including vomiting. This ingredient seems to be requisite for this kind of film in those years. However, it has its focus on family values, integrity, especially in sport.

1. A popular film of American football? For non-American audiences?

2. The Texas setting, the town, homes, schools? The playing fields? Nightclubs? The musical score?

3. The title, the focus on the footballers, football scholarships and their future?

4. The high school setting, classes, the teacher and the sex education and the farcical aspects, the irony of her being a pole dancer? Secrecy?

5. Jack and his family, the voice-over and explanation, his relationship with his parents, his younger brother and his experimentation with different religions, tied to a cross, with Jewish garb, Muslim interests? His role at school, his being under the shadow of Lance, his opportunity? His friendship, especially with Billy Bob and his crass eating and being sick? Billy Bob playing, injury? Jack and his being able to help Billy Bob to go to the doctor? His father and his reputation, the Harber family, the picnic and the sons throwing the ball to hit their fathers? His father’s reputation with the coach? His success in play, his girlfriend, the girl trying to seduce him – and her listening to her and giving her good advice? The drinking, the getting together, the possibility of his going off the tracks? His girlfriend talking in a straight manner to him?

6. Lance, the hero, his reputation, the girls all swooning, the coach relying on him, getting the injections? His scholarship, his family pride, his father? The coach using him? His injury? His background, with the girls? His supporting Jonathan? Especially in the confrontation with the coach?

7. The other players, Billy Bob, his eating, vulgarity, reliance on Jonathan? Charlie, his brashness, with the girls, naked…? Their supporting Jonathan?

8. The portrait of Coach Kilmer, his intense speeches, thirty years of coaching, his reputation in the town? Wanting to win at all costs? Talking to his players? The injections and their being secret? Lance’s injury, his blaming Billy Bob? His later despising him? Using Jonathan, disliking him? Jonathan’s success and Kilmer’s reaction? The young men and their troubles, especially with the police, the police talking – and the coach’s intervention, that they were just kids? The final, his wanting to win, their not playing well, the injections and their trying to persuade the player not to have injections, the speech against the coach, his walking out isolated?

9. The team, Jonathan’s leadership, the support, Billy Bob and the tactic? Victory?

10. The film and family values, pressure of parents and expectations, coaches and the intensity of football as a way of life?

UNACCOMPANIED MINORS (GROUNDED)

US, 2006, 90 minutes, Colour.
Lewis Black, Wilmer Valderrama, Tyler James Williams, Dillon Christopher, Brett Kelly, Gina Mantegna, Quinn Shepherd.
Directed by Paul Feig.

The title indicates the target audience (around 12 years of age or so). It also indicates how it should be seen. Parents and grandparents may want to flee the cinema and leave the shenanigans to the unaccompanied minors.

It’s a Christmas story – or, rather, like Christmas with the Kranks, Deck the Halls and others – it is, rather, a Christmas tree, decorations, Frosty the snowman, Santa Claus and Christmas presents story. Christmas Eve brings on a blizzard that grounds all planes. In the mayhem of rounding up the children and supervising them, five of them get out and cause problems all over the airport. A lot of the behaviour and humour is brattish, some crass touches and poking its tongue out at adults.

Of course, by Christmas morning they will be little angels, doing nice things for others and discovering friendship and bonds with each other (they all come from divorce homes).

The minors will enjoy it – and the seniors will hope they grow out of it!

1. The audience of unaccompanied minors for whom this film was made? The entertainment for twelve-year-olds? Entertainment for adults – or not?

2. The basic premise: Christmas, the children of divorced families, travelling unaccompanied, Christmas Eve, the blizzard, the closing down of the airports, the airport authorities coping, the children misbehaving, acting like brats, the mayhem? The presupposition that the curmudgeon could change into Santa Claus? That the children could actually befriend one another, become a family themselves – and bring cheer to everyone!

3. The introduction to the families, the broken homes, the parents? Valerie Davenport and her sister? Her anxiety? Her husband living far away, his old car, his driving to get the children? The children who didn’t know their parents or were ignored by their parents?

4. The airport, the blizzard, closing down? The crowds? Zac and his looking after the children, the airport courtesy? Putting all the children in the one room – and the mayhem inside?

5. The focus on the small group, Charlie and his fainting with his father, and his father fainting, at the prospect of meeting Santa? Spencer and his sister, her tantrum with Santa, his taking her to the airport, losing touch with her? Timothy Wellington, his size, his playing with his soldiers? Grace, the girls, flirtatious, her living near the airport but not telling anyone, her parents not interested in her? Donna, bad temper and cantankerous? An unlikely special five?

6. Their getting out of the room, their various adventures, Spencer and his overeating? Timothy and his being on the wagon and the others joining in, the crashes?

7. Oliver, as head of the airport, not having had a holiday for fifteen years, his assistants? Seeing him off to Hawaii, his dreams, the blizzard and his staying? Cantankerous? Final confrontation with the children? Ticking them off? Their escaping again, his change of heart, their persuading him to be understanding? His getting out the decorations? Becoming Santa Claus?

8. The kids together, running into the guards, their being rounded up and put into cells? The surveillance? Spencer and his being smart, using the mobile phones to jam the surveillance? Their all getting out through the roof? Donna and her fear of confined spaces, Charlie helping her? The final meeting with Oliver, their change of heart, what they realised about themselves, towards one another? Charlie and Donna as a twosome? Spencer and his attraction towards Grace?

9. The Christmas celebration for all the passengers, their waking up, the children finding the decorations, putting them out, Oliver as Santa Claus?

10. The Davenports and the father coming to get them, the mother reassured? The happy ending? Their keeping in touch?

11. Christmas without Christ? American Christmas as sentiment, gifts, decorations and Christmas trees?

ZOOM

US, 2006, 83 minutes, Colour.
Tim Allen, Courtney Cox, Chevy Chase, Spencer Breslin, Kevin Zegers, Kate Mara, Michael Cassidy, Ryan Newman, Rip Torn.
Directed by Peter Hewitt.

Another comic book hero. This film is for younger audiences, a kind of blend of Spy Kids with the powers of the X Men and their heroes. It is played for some laughs and for some action.

It is also a Tim Allen film. This time he is having a rest from playing Santa Claus. He is Jack Shephard who thirty years earlier had been trained to be a hero, Zoom. However, his brother Connor had gone over to the dark side, so to speak, and was lost in another dimension. Now he is coming back. A martinet general (Rip Torn) and the head scientist (Chevy Chase) are devising way to capture him. What else to do but to re-recruit Jack/Zoom and get him to train some young heroes for combat?

So, that’s what happens. A group of children with super powers are auditioned and four chosen and trained with some tongue-in-cheek action and with the help of the resident accident prone psychologist (Courtney Cox).

This is a short-running and cheerful film, undemanding and following in the footsteps of this very popular genre of adventure and special effects shows.

1. The audience for this kind of film about superheroes? The background of comic books? The X-Men? and their powers? Spy Kids? An entertaining combination for young audiences?

2. The credits, the presentation of the comic strips, their characters and their names, action? The transition to the realism of the story? The comic book gone wrong? The mission to capture Concussion? The preparation for the training of the special kids?

3. The locations, the ordinary kids in their ordinary situations – and then their special powers manifested? Jack and his apartment? The contrast with the laboratories, the military headquarters? The special effects, the machines? The special powers – with their comic touches? The blend of realism and fantasy? The songs? The musical score?

4. Jack Shepherd, Captain Zoom? Thirty years away from the comics? His control by Doctor Grant, General Larabee? Marsha Holloway and her accidents, getting his attention? The dart? His being taken to headquarters? The mission, his brother and the Dark Side? His absence for thirty years? The use of G13 and its contamination on Connor and the members of the previous team? Jack and his auditioning the kids with powers, the mishaps? The choice of the four? The instructions from General Larabee, the advice from Doctor Grant? Marsha and her helping? The program, the exercises, the skills – and the humorous aspects of the training? The effect on Jack? His not wanting to escape? Liking the kids? Attracted to Marsha?

5. Marsha Holloway, bespectacled, accident-prone? The auditions? The friendship with Jack, admiration for him, the comics she had as a child? With the kids, the training? With the authorities? The final revelation of her own powers, helping the children escape? The attraction towards Jack?

6. Chevy Chase as Doctor Grant, befuddled, the past, the thirty years? With General Larabee? The experiments and his being the victim of pratfalls and accidents? His being party to the plan?

7. General Larabee, rasping out orders, merciless? His demands on Doctor Grant, on Jack? His attack on the kids, not wanting to enjoy themselves? His plan to get Connor? His relentlessness?

8. The four special kids: Tucker, Megaboy, his size, his ability to inflate his head and limbs? Awkward but skilful? Summer Jones, her ability to imagine and move things around? Her name of Wonder? Dylan, the James Dean rebel, his ability to disappear, doing the formula in class? Cindy, six-year-old, her ability with weights and furniture? Princess? Their doing their auditions – the contrast with those who failed, the awkward types, breaking wind, nostrils …? Their work together, Cindy wanting names? The attraction between Summer and Dylan? Their life, the exercises, developing their skills?

9. Connor, his history, in the team, the G13, going over to the Dark Side, alone for thirty years, his return, people wanting him captured?

10. The build-up to the mission? The celebration the night before, Summer in her dress, Dylan’s attraction? Cindy dancing? Their being woken up by Jack, his helping them to escape, Marsha and her help? Jack and his being taken by the authorities and put in the cell? Their getting him out? All using their powers to get them out of the compound? The comical touches?

11. The general and Doctor Grant, the plan with the net? The glasses, watching Connor breaking through the barriers? Jack and his discovering his speed power? Meeting with Connor, the discussions, Connor’s resentment? The pleas with him? The confrontations, each of the children able to use their powers? The breaking of the net? Finally overcoming Connor – and his returning to normal?

12. The happy ending, the finale with Tucker as goalkeeper with soccer, Summer and Dylan together, Cindy and her domination of the prince in the performance of Rapunzel? A happy ending for Jack and Marsha?

THE X FILES

US, 1998, 122 minutes, Colour.
David Duchovny, Gillian Anderson, John Neville, William B. Davis, Martin Landau, Jeffrey D. Munn, Blythe Danner, Terry O’ Quinn, Armin Mueller- Stahl, Lucas Black.
Directed by Rob Bowman.

After five series, I had still seen about ten minutes of an episode of The X Files. Should I watch one before reviewing the movie or come at the movie without any presuppositions - except that Scully and Mulder had become cult figures and that X File devotees were legion?

Despite the critics saying the movie's plot was incomprehensible without knowing the series, I quite enjoyed it and thought I followed it. However, the vibes around the cinema when characters with cigarettes appeared or David Duchovny and Gillian Anderson indulged in some verbal sparring alerted me to the fact that I was missing nuances.

There was Ms Anderson as agent Scully, dressed in sedate black, poised and upright, an 'ice maiden' according to one reviewer, looking and acting clear and definite. There was Mr Duchovny as agent Mulder dressed casually, if not sloppily, meandering around, not at all clear or definite. And all this in the context of the search for a bomb in a federal building in Dallas.

How does Scully tick? Mulder? If they could be involved in their complex investigation during the movie, trying to identify X, the Unknown, the Aliens, why couldn't I be involved in my own complex investigation during the movie?

I started to take notes, to amass some evidence to support the immediate hunches. I began to hear snippets of conversation which ran: Scully, 'This is way past the point of common sense'; Mulder, 'Something's not right'.

Chris Carter has written most of the episodes of The X Files and wrote the screenplay for the movie. He knows his characters very well and, on the evidence of the movie, writes dialogue consistent with their types. I began to hear Scully, with her medical studies background and her vocation to FBI investigation, express herself with phrases like, '... the outcome of which is...', 'of what exactly?' She spends most of the movie searching out evidence, examining it rationally and trying to draw rational conclusions about the mutating corpses she studies and the consequent coverups by government agencies.

'I don't know. I don't see any evidence.' 'That's the first question to answer if we are going to find them...', 'What do you think they are? What? What?'. When late for a Senate committee hearing, she asks precisely, 'What are my choices?'

When decisions have to be made and Mulder tells her that he needs her, she comes back quickly with 'You don't. I've held you back'. But Mulder, far more subjective than she in his criteria for decisions, tells he that her 'strict rationalism and science have kept me honest'. He tells her that she saved him from mistakes.

While Mulder is, apparently, one of the US's greatest agents and investigators, he does not come across immediately as sure and prepossessing. In fact, the first we see of him is his moseying around looking for explosives - which, in fact, he finds. 'Something's not right.'

When he tests out his theories with Scully and when confronted by Martin Landau's mad scientist, replete with outlandish (or 'out-earthish') conspiracy theories, he keeps asking questions. His intuitive investigation method is question, question, question. And his sometimes frustrating answer to Scully's exact questions is, 'Maybe'.

He is also prone to introduce his questioning with, 'If you don't mind', 'I'd like to...'

Apparently, one of the burning questions for fans of the series and one that many expected an answer to is the emotional, the sexual relationship. Not rushing into the cinema with a longing to know, I found their relationship, as they say, 'strictly professional', until... They obviously had a sparring (echoes of Tracy-Hepburn? movies) love-hate relationship. But, it gradually appeared that there was something deeper, a deeper complementarity. Several times they seemed on the verge of... but someone intervened or Scully collapsed from a bee sting containing the alien virus. (I'm sure Freudians could do something with that.) That is a bit of what the relationship is like. It teases the audience, but there is no consummation.

However, the complementarity is interesting. Before they collapse, one says to the other, 'You made me a whole person'. This is the language of Platonic complementarity. However, before the freezing and the Antarctic rescue heroics at the end of the movie, they do hug, there are tears. Scully's firmness collapses and, to come to life again, she has, literally, to melt. Mulder has to take firm stances, stick within a deadline (an antidote to be administered before 96 hours are up) and become a neo-James Bond to rescue Scully who, with her rationalism and science, has already rescued him.

1. The popularity of the television series? Long-running? The nature of its continued popularity? Themes? Questions? The cast? The extraterrestrial dimension? Mystery?

2. The American settings, the 35,000BC Texas setting? Early humans? The transfer to Texas in the 90s, the countryside, Dallas? Washington? The desert, the site? The transfer to Antarctica? The range of locations, the culmination in Tunisia? The importance of special effects, especially the explosion? The Antarctic? The musical score?

3. The title, its reference, government activity, secret files? The presumption that humanity was not able to deal with the mysteries of the universe and mysteries beyond this world?

4. The prologue, North Texas, the alien and the killing of the humans? The burying of the body, the ice?

5. The transition to the 90s, the group of boys, Stevie, the cavern, the liquid life form, his being taken away? The alien forces?

6. Dallas, the FBI headquarters, the film’s introduction to Mulder and Scully, presuming that they are familiar to their cinema audience from television? The nature of the X Files? Paranormal investigations? The agents and their being taken off the files? The issue of the bomb threat, their investigation? Their working with Michaud? The evacuation of the building – but his remaining, the actual explosion and its force, his own death, the other people killed and Michaud seeming to permit it?

7. The hearing, Washington, the discussion about responsibility? Scully and her presence at the inquiry?

8. Kurtzweil, character, age, experience, secret meetings? His background in conspiracy theories? His information about the bodies, Stevie’s body, the fact they were dead before the explosion? The extraterrestrial infection?

9. Bronschweig, his researchers, the group of conspirators, their clash with Mulder? Their going to the site, finding what had happened to the virus, its being in a human host, the hatching of the killer alien? His death, its being buried with him?

10. Mulder and Scully, the trail to the installation, the attack of the bees, the bees being infected? Scully being stung, taken away suddenly, the ambulance, Scully and her disappearance?

11. Kurtzweil, his speeches to Mulder, his death? The Well Manicured Man and his English background, his conscience, information to Mulder about the aliens, the conspiracy group on Earth? The clash between the aliens and humanity, the plan of the aliens for human beings to be enslaved, to be able to recreate the aliens? The antidote for the virus?

12. Mulder, the transfer to Antarctica, the race against time, the death of the Well Manicured Man, the car bomb?

13. Antarctica, Scully and Mulder and their escape, Scully recovering, the spaceship in the ice?

14. The aftermath, Washington, Mulder and Scully and the discussions about staying in the FBI, Strughold, the conspirators, Tunisia, the reopening of the X Files?

15. The nature of Mulder as hero, his investigations, his being informed by conspirators of crucial information? His background of his sister’s abduction by aliens, the question about his parents? The men as surrogate fathers?

16. The relationship between Mulder and Scully, unemotional, professional, working – the moments of perfection, the brief kiss?

17. The blend of the serious, the satire, crime stories, parapsychological aspects, monsters, aliens, government conspiracies?

AIMEE AND JAGUAR

Germany, 1999, 125 minutes, Colour.
Maria Schrader, Juliane Kohler.
Directed by Max Farberbock.

Aimee and Jaguar was nominated for many awards in its native Germany, winning best actress awards at the Bavarian film festival as well as the two actresses tying for the Silver Bear at the Berlin film festival. It was a nominee for Golden Globe for best foreign language film.

While the film is set forty-five years after the time in which the initial action takes place, it is part of the constant reminder through films to the German people of their past, the Nazi history and its consequences. The film recreates the atmosphere of World War Two in Berlin, the hardships for the residents, the bombings. It also focuses on people working in the underground and the Gestapo tracking them down.

The film was also a story of friendship and love. Maria Schrader portrays Felice, code name Jaguar, who is an undercover agent being pursued by the Gestapo. She takes refuge with a wife and mother, Lilly, played by Juliane Kohler. Lilly is unhappy in her marriage – and the two women begin a relationship. However, with the atmosphere of the war in 1943-44 and the Battle of Berlin, it is a doomed relationship.

The film is interesting for its portrayal of the history, its portrait of the two women and their relationship.

1. Berlin towards the end of World War Two, the city itself, the bombings and the results of the bombings? The ordinary homes and streets? The atmosphere of the war? The context for a portrait of family, relationships, Jews, lesbian love, tragedy?

2. Berlin in itself, as a character in war films? The contrast between the dangers of war, the bombings and the ordinary life of Germans, at home, in the offices, official functions? The special effects for the re-creation of the bombings? The musical score?

3. The title, the real names of the women, their code names? The predatory nature of the Jaguar, Aimee and its meaning being loved?

4. The prologue, the photos, the sense of anticipation? The setting in the 1990s, Mrs Wust? The house, the institute – and Ilse and her presence?

5. The war experience, pre-war Nazism, the effect on the German people, the atmosphere of racism with Nazism? Illicit love, lesbianism and persecution? The screenplay for asking for understanding?

6. The focus on Lilly, her friendship with Ilse, the concert, the bombings, the play, the themes?

7. Lilly in herself, bold, the paper and the boss, spying, the contacts? The photos and the escape? Ilse and family? The poem and the reaction? In love, the power of love, motivations?

8. Lilly as wife, her relationships, son, the Nazi lover? Prejudice, the lifestyle? Reaction to Felice? The advances? Change, resistance? Being led on? Tormented? The transition to the present, the sense of absence? The lyrical aspects? The son and the domestic life? Parents and ideas? Discovery of the truth?

9. The lesbian group, Klara, Ilse? The bonds, the meetings, in the cafés, the pin-ups, the clubs? The hidden life? Behaviour? The shooting and the Nazis?

10. The portrait of the husband, reactions, the celebration? Anti-divorce? Death?

11. The character of Felice, her dilemmas? Her background, espionage? Staying with Lilly? Staying away? The role of Ilse? The farewells, the jealousies? The final decision to stay, the reaction of the Nazis, Hitler’s assassination?

12. The final telling of the truth, the consequences? The lyrical experience? Her being caught, the escape, in prison?

13. The passing of time with the decades, Ilse, blaming herself? Her final decisions?

14. How was the story symbolic of Germany during the war – and post-war experiences?

APOCALYPTO

US, 2006, 135 minutes, Colour.
Directed by Mel Gibson

With a name like Apocalypto and a director like Mel Gibson, this film could be about anything. As it is, it is an immersion of the audience in the last, dying days of the Mayan civilisation.

The film itself offers no background explanation as to the Mayans and their history. Obviously, much of the history is speculation, information coming from archaeology and conclusions drawn from what remains of a civilisation which, except for its buildings and ruins, is lost.

The film opens with a quotation from scholar Will Durant stating that dying civilisations decay from within before they are destroyed from outside. Apocalypto presents a society of hunters who are menaced by lethal warriors who plunder, rape and kill (with quite some visual impact) and who enslave their victims so that they can be sold in markets to an effete nobility or can be slaughtered as human sacrifices (quartered and their hearts cut out – memories of Braveheart – and then beheaded at the top of the high temple staircase so that their heads can roll and bounce down to the bloodthirsty crowds and then be impaled). Gibson evokes the bread and circus atmosphere of the Roman arenas as well as the lance and arrow gladiatorial pursuits of victims by the temple guards.

Gibson has decided to tell the story of a hero, a hero who is a victim, a hero who has to endure almost unendurable torture and suffering. This means that Apocalypto is definitely a Mel Gibson films in terms of subject and treatment and the visual, visceral presentation of pain. William Wallace and his execution, Jesus and his passion and death, were not exceptions to Gibson’s concerns.

We can see now how Mel Gibson’s sensibilities are strong, male, suffering-oriented, focused on heroic endurance with some kind of hope that the heritage is redemption and freedom.

The language of the film is Yucatec. Gibson’s films contribute to a mainstream’s acceptance of sub-titles.

The first part of Apocalypto shows the peaceful and happy hunting villagers. It opens with a chase and a division of the meats – interrupted by an ominous appearance of some displaced tribes people. However, there is camaraderie, respect for elders, strong leadership and earthy jokes about sex and families.

Then comes the attack in all its brutality, massacre and the enslavement of the warriors, their trek through forest, river and cliffs to the centre of ‘civilisation’ with its temples, priests, sacrifices and atmosphere of superstition and appeasement of the Gods.

In the tradition of Run of the Arrow, The Naked Prey or A Man Called Horse, the Mayan leader, Jaguar Paws (Rudy Youngblood) endures extraordinary pain and danger to outrun his pursuers and rescue his pregnant wife and child.

And, there coming to the shore, are the ships of the conquistadors and their friar chaplains. The era of the Mayans is over.

This is not a particularly appealing film. Rather, it is one that can be admired on a storytelling and technical bravura level – an example of cinematic ethnography.

1. A Mel Gibson film? As a manifestation of himself, his personality, style, interests?

2. The research done, the Mayan civilisation, the attempts of the film to recreate this civilisation and world? Immersing the audience in the Mayan world?

3. The Mexican locations, Costa Rica, the lush jungle, the hunting grounds, the devastated jungle, the rivers and waterfalls, the towns, the buildings and the temples?

4. The use of subtitles? The Yucatec language? Its tone, sound, authentic atmosphere? The audience hearing people speaking their own language? The style of the subtitles?

5. How much did the audience need to know about Mexico, its history, the Mayan civilisation, its decline, the coming of the Spaniards? The film immersing the audience in the experience of the Mayans? The disasters?

6. The tradition of films of pursuit, The Naked Prey, Run of the Arrow? The universal message of the man pursued by enemies? Surviving in the jungle? The relevance of this story for all indigenous peoples?

7. The cast, the locals, the Indians? Costumes and style? Tattoos, make-up?

8. The musical score, tones, echoing the period?

9. The title, the end of an era, Apocalypse and Revelation? Disaster? The quotation from Will Durant about civilisations and their inner corruption before their being destroyed? Decay and the end of the Mayan civilisation? The 16th century , the achievement, the hunters, the villages? The cities? The arrival of the Conquistadors and the images of the boats, the military and the chaplains landing?

10. The prologue, the experience of the hunting, the chase of the wild boar, the warriors, their talk amongst themselves, the tensions, humour, the jokes for Blunted? The earthy sense of humour? Dividing up the meat? Meeting the frightened tribe, their fear, wanting to pass through, the permission? An ominous sense of disaster?

11. Life in the village, a hunting civilisation, the families, the hunters, the homes? The feasts, the storytelling at night, the legends? Marriage, children, fertility, impotence, rituals – and the pressure of the mother-in-law? The warrior chief and the jokes on Blunted and his having to sit in the water trough?

12. Jaguar Paw, his relationship with his father, the father as leader, Jaguar Paw to be his successor? Athletic, hunting skills? His dominating the other hunters? His relationship with his wife, her pregnancy, the young boy? His dream about the tribesmen, the ominous indications of fear and destruction?

13. The invaders, their look, make-up, weapons? Attacking when the village was asleep? The brutality, the violence, putting the huts to fire, the assault on the women, the rapes? The children? The killing, Jaguar Paw and his putting his wife and child in the hole, lowering her, trying to conceal this from the enemy? Her pregnancy? The malevolent leader, the individuals in the attackers, the killing of Jaguar Paw’s father, his dignity, his stance, his throat being cut? His kneeling dead as an icon?

14. The capture of the warriors, the humiliation, their being bound together, the wounded warrior, his falling, the danger for the rest of the group, his being cut loose, thrown down the cliff? The trek through the jungle, the hardships, the wounds, crossing the river? The children gathering, following, the young girl promising to look after the children, their being left behind? The devastated jungle? The cliffs, the dangers, the falls?

15. The personalities of the warriors, in the tribe, Blunted and his size, relationship with his wife, grief at her being taken? His impotence? The mother-in-law? The butt of jokes? The invaders, the chief and his son, cutting his eye wound? The contrast between the tribes and the invaders?

16. The arrival of the town, the aristocracy, their clothes, manner, effete? The women and children? The parallel with the Roman Empire, the crowds, the towers, the slave market, the mother-in-law not being able to be sold and set free, her looking at Blunted?

17. The warriors being painted blue, ascending the steps, the human sacrifice? The priests, the prayers and superstitions? The brutality of laying the warriors down, stabbing them, taking out their heart, their entrails? Beheading them, the heads falling down the steps to the crowd, being seen on pikes? The people enjoying the spectacle?

18. The experience of the eclipse, the effect on the priests, the effect on the crowd, their fears? Their interpretation of the eclipse? Jaguar Paw, his being on the block, his being saved?

19. The tribesmen being taken, into gladiatorial combat, the run, arrows and spears, the brutal deaths?

20. Jaguar Paw, his skill in avoiding the weapons, his being wounded? His killing his pursuer? The reaction of the warriors, coming to his rescue, finding him dead? Jaguar Paw going into the cornfields, the pursuit, the visuals of the pursuit, the moving camera? His blood, the drops from the leaf on the tree? The jungle, hiding in the tree? The jaguar and the young, the threats? His eluding the animals? His running, the warrior intervening and his being mauled to death? The snake biting the other warrior? The coming to the falls, Jaguar Paw’s decision to go over, his survival? The others deciding to go over, the warrior bumping his head on the rocks underwater, their continued pursuit? Jaguar Paw and the quicksand, his survival, covered in pitch? The final trap, the piercing of the chief? The fights at the hole where his wife was hidden?

21. The intercutting of the experience of his wife, her son, the burden of the pregnancy, finally trying to throw the rope, climbing, falling? The rain, the accumulation of water, her standing on the rock, giving birth in the water? Her husband’s return?

22. The warriors and Jaguar Paw going to the shore, seeing the fleet, bewildered? The impact of the military and the religious – and audience knowledge of what was to happen?

23. Jaguar Paw, his wife, the rescue, leaving, going up the cliff with the children, the end of an era? Their not meeting the invaders? Wanting a new beginning? Audiences knowing the subsequent history?

24. The film as entertainment, male-oriented, macho, a film of visceral suffering, endurance? Redemptive? Hope? The ethnographical interest of the film and its portrait of the Mayans?

ARIZONA RAIDERS

US, 1965, 88 minutes, Colour.
Audie Murphy, Michael Dante, Ben Cooper, Buster Crabbe, Gloria Talbott.
Directed by William Witney.

Arizona Raiders is in the tradition of the Audie Murphy westerns made at Universal Studios during the 1950s. Audie Murphy made a number of similar westerns for other studios during the 60s. His career was cut short by his death in a plane crash in 1971. While he appeared mainly in westerns, he also had some good roles in such films as The Unforgiven and The Quiet American. His character in this film, a member of Quantrell’s Raiders who is given the opportunity to become a Texas Ranger is very similar to his usual role. The villain is Michael Dante, Ben Cooper is his associate and the star of serials of the 30s and 40s, Buster Crabbe (who appeared as Flash Gordon as well as Buck Rogers) is the captain of the Rangers. Direction is by William Witney, a director of many serials of the 30s and 40s.

1. The popularity of Audie Murphy? Audie Murphy westerns? This film in that tradition?

2. The post-Civil War period, the raid of Quantrell’s men, the towns, the jails, the Arizona settings in the desert? The musical score?

3. The title, the setting up of rangers after the Civil War, the model of the Texas Rangers? The work in Arizona, especially against Quantrell?

4. The Quantrell gang, seeing them in action, their ruthlessness? Deaths, robberies? Their attacks on the carpetbaggers from the north? The voice-over and the moral commentary on Quantrell?

5. Captain Andrews, his work after the Civil War, the pursuit of the gang? The assault on the farm, the boy seeing them and giving information? The shoot-out, the escapes? Quantrell himself, Clint and the others?

6. Quantrell as leader, the motivations, the clash with Montana Smith? Brady and his ambitions? The escape, Quantrell being shot, his dying in a military hospital? The men assembling, Brady taking over?

7. Clint and Willie and their being taken, their being sentenced, Captain Andrews and his intervention in the court, the information from Clint’s brother, Danny? The sentence to twenty years? Their work in the prison, hard labour?

8. The Governor of Arizona, Quantrell’s Raiders and the damage they were doing, his asking Andrews to set up the rangers? Andrew’s idea of using Clint and Willie? The set-up in the desert, arranging their escape, taking him prisoner? Their giving their word?

9. Clint and his meeting with Danny, Danny and his admiration for his brother, the discussion about being in the raiders? Their oath? Their going to Brady and the gang?

10. The Indian village, the refugees from Mexico, the friars and their helping the Indians? The gang and their arrival, their brutality, the shoot-out? The chief and his confrontation, being put in the church, the killing of the friar? Taking over the town, for food, shelter? The abuse of Martina?

11. Clint and Willie, joining the gang again, their pretence? The possibility of leaving for Mexico? The reconciliation with Brady? Willie and his not wanting Clint to dishonour his word? The encounter with Danny, the men following them? The shoot-out, Danny being killed as a ranger? The Indians and their killing the two men? Clint and Willie returning to the gang, their story, Clint sending Willie for the rangers? Martina and her giving him the information? The bond with Martina and his having saved her? Willie being captured and brought back?

12. Brady confronting Clint, Willie and his injuries, his pretending to confront Clint, his death? Clint and his going to the rangers, the return, the destroying of the group? Clint and his confrontation with Brady? The role of the Indians, their pursuit, the arrows? Avenging the treatment of the village?

13. Stories of the west, the atmosphere of the unsettled states after the war, the humiliation of the south, the setting up of the rangers, the raiders, the Indians?

ATTILA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ANGEL HEART

US, 1987, 113 minutes, Colour.
Mickey Rourke, Robert de Niro, Lisa Bonet, Charlotte Rampling.
Directed by Alan Parker.

Angel Heart is a film about the Devil, evil, selling one’s soul to the Devil.

The film opens in New York in the 1950s but soon moves to New Orleans and its strange atmosphere, voodoo religion, the centre for the presence of the Devil. Mickey Rourke portrays a private detective who is asked to meet with a rich client, Louis Cyphre (Robert de Niro) in order to find a singer who has disappeared during the war. The detective’s journey takes him through a maze in New Orleans, especially through the wealthy families, the poor families, the voodoo and its rituals. What emerges is that the detective is seeking himself, the singer who made a bargain with the Devil and who now, unbeknown to himself, is doing the Devil’s work. This is a good star vehicle for Mickey Rourke in his heyday.

Robert de Niro is Louis Cyphre (Lucifer) and is often enthroned on a chair, the picture of sinister evil. In the same year, de Niro made The Untouchables where he portrayed Al Capone. Direction is by Englishman Alan Parker who had a strong career during the 1980s, especially in the United States with such films as Fame, Shoot the Moon. He was to go on to make Midnight Express.

1. The impact of the film? Its credibility? A portrait of the Devil, the Faust pact and selling one’s soul? The work of Alan Parker, the Englishman working in the United States?

2. The atmospheres, New York City, 1995, dark, sinister, bloodthirsty, Harlem? The comparison with New Orleans, the city itself, dark and light? The voodoo world? New Orleans society? Hellish, hot, the fans? Dreams? The atmosphere and the environment? The musical score and mood?

3. The themes, the religious songs, 'The Girl of My Dreams’, the piano score?

4. The title, the original novel being called Falling Angel, Harry Angel and the Devil, Hell and the selling of one’s soul?

5. The long tradition of the Faust legend, the selling of one’s soul, the persuasiveness of the Devil, the human enjoying the limited extent of the bargain? Having to surrender the soul?

6. The world of the private eye, Harry Angel, seedy, wandering, friends? The office and the visit of Winesap, the interview with Louis Cyphre, the task? The background of Harlem, the African Americans, the money, religion? The interaction with Cyphre and the beginning of his mission?

7. Mickey Rourke as Harry Angel? Character, screen presence, impact and style? His work of twelve years, the 1940s and 1950s, the memories? His skills in investigation? The hospital and the girl, the doctor and the morphine? Death and the fingerprints? The meeting with Cyphre? The beach, his nose? The wife in the water, the information about the man and the woman – and Johnny Favorite?

8. Descriptions of Johnny Favorite, his career, the place of Margaret in his life? Evangeline? The injuries, the disappearance? Harry and New Orleans, the mirrors, the visions, his fear? Understanding his self, seeking his own identity? The revelation of Cyphre as the Devil, demanding his soul, the descent into Hell? The portrait of evil?

9. The doctor, Coney Island, the funeral chase – at the tip?

10. New Orleans, the mood of the city, tap dancing, the heat, the hotel? Mama Carter’s? Evangeline’s grave and Epiphany? The chickens and the rituals? The information that he was seeking, his search for Johnny Favorite? Toots and his plane, the toilet, the chicken? The voodoo ceremonies? Toots and his visit, death? The chase, the dog and the biting? Margaret, the tram? Palm, information and reaction, her death? Epiphany and the boy, the sexual encounter, the vision and the blood? The intervention of the police?

11. Mr Kruzemark and the contact, Margaret, the truth, the world of evil, ritual and death?

12. Cyphre and his character, appearance, information, the finale and his desperation, revealed as the Devil?

13. The effect of the revelation on Harry Angel?

14. The supporting characters, Epiphany, her place in New Orleans, the rituals, sexuality? Margaret and her father, Margaret’s death?

15. The religious background, the struggle between good and evil, the pessimistic ending with Hell?

THE ALAMO

US, 2003, 130 minutes, Colour.
Dennis Quaid, Billy Bob Thornton, Jason Patric , Patrick Wilson, Emilio Echevarria, Jordi Molla.
Directed by John Lee Hancock.

The Alamo has an extraordinary status in American history, the last stand battle of a small group of men and women in the church near San Antonio, a stand against the overwhelming forces of the Mexican General Santa Anna to the death. Davy Crockett and Jim Bowie (of the knife fame) died during the siege. John Wayne starred as Crockett in a big-budget re-creation of the events in 1960. The film had the same title as the present version, The Alamo.

This Alamo did rather poorly at the American box-office. Is it the film itself? Is it the American spirit in 2003-2004 with the events of the war in Iraq and the aftermath? What image of American heroism was needed at this time?

First of all, the film is rather dark and not quite so heroic as forty years earlier. It also tries to look for the truth behind the legends and finds some feet of clay (or, rather, ordinary fallible human beings) and that did not sit well with the public who were caught up in the war against terrorism.

Since most people know the outcome, the film opens with the defeat and General Sam Houston on his knees. Back we go to the big dreams that Houston and other pioneers had for the opening up of Texas and for its being part of the Union (we are in the mid 1830s). Davy Crockett, from the Tennessee wild frontier and more latterly from Congress in Washington, responds to the call and arrives in San Antonio. General Santa Anna and his men make a surprise march through the winter and the siege of the Alamo begins.

There are tensions within the fort. The commander leaves, placing young and by the book Travis in charge. Jim Bowie and his roughneck followers are not impressed. Mistakes are made and the battle begins. Houston, who has a drinking problem, does not have the confidence of community leaders and is not there. He persuades them that he should raise a force.

There is a great deal of heroism in the fighting but the Americans are no match for the Mexicans, the small roughly clad fighters against the quite magnificently uniformed soldiers. Bowie dies of consumption. Crockett is executed. Houston eventually lures Santa Anna away and defeats him in an 18 minute fight with the Mexican signing away Texas in exchange for his life.

Billy Bob Thornton is the standout in the acting, really brining Crockett alive as a credible hunter, leader and genial gentleman. Jason Patric is Bowie and Dennis Quaid is Sam Houston.

1. The status of the Alamo and the battle in the United States, in its consciousness? The reality of what happened, the legend? The monument in San Antonio? Audience knowledge, the combatants as heroes, the nature of heroism and their being outnumbered? The response of the overseas, non-American audience?

2. The response to the film, its lack of box-office success? Was it too downbeat? Released in 2003, the Iraq war, the need for a more optimistic presentation of heroes?

3. The structure of the film and the downbeat tone, opening with the scenes of the dead, the dog licking the face, the carrying of the wounded and the dead? The aftermath of the battle of the Alamo, audience knowledge of what happened? Sam Houston in his kneeling in prayer? The flashback to the year before the Alamo, the introduction to the characters, especially Davy Crockett, the American situation with Mexico, General Santa Ana, the battles, Houston’s success? His drinking, his personal problems, his being sacked? The presentation of the siege of the Alamo, the fight? The final fight at Santa Jacinta and the defeat of Santa Ana and his signing away Mexico?

4. American attitudes, to the Texan territory, to Mexico, their being in rebellion, their being present in Mexican territory? The history of the battles, the independent movement? The effect on Mexico (and Santa Ana’s comment that Mexicans would be subservient to the Americans and this being fulfilled)? The United States in the 19th century, its supreme sense of Manifest Destiny?

5. Texas, the opening up of the territory, the settlers, the wealth, hopes? The celebration in Washington and Sam Houston trying to sell Texas to people? The promise of land, easy money? Washington and Davy Crockett, Houston interesting him? The background of his being in Congress and his election defeat? Travis and his hopes for Texas, the separation from his wife, her arrival with the children, the signing of the papers, his wanting a new life? The Mexicans living in the territory and their allegiance to Mexico or to the United States? Santa Ana and his hopes for more territory?

6. The history of the Alamo itself, the church, the settlement, the subsequent history, the preparation for Santa Ana, not expecting him in the winter? The officer and his departure, leaving Travis in charge? Travis and Bowie and their clashes? The arrival of Davy Crockett and his men? The clashes between the militias and the regulars? Their loyalties, defiance? Behaviour, drinking, attitudes?

7. The contrast with Santa Ana, his pomp, military might, the march through the snow, the band playing before onslaughts? The elaborate uniforms? His subordinate officers, their agreeing with him, their interior questioning? The arrival, the hill, the settlement, the cannon? The band playing? Santa Ana and his attitude towards the men as cannon fodder? His strategies? Crockett and his violin, the interest in Crockett? The skirmishes, the deaths, the Americans coming out, the cannon fire? The final attack?

8. Life within the Alamo, the men, the few remaining women, families? Santa Ana allowing the Mexicans to leave? The black slaves and their digging, the slave leaving, the other slaves staying and fighting? The factions, the refusals to obey Travis, their ordinary clothes but their top hats? Crockett and his company, the bravery, going out of the fort, burning the huts? Travis and his picking up the unexploded cannon ball? Bowie and his change of attitude, wanting his men to obey Travis?

9. Travis as a character, his background, educated, new life in Texas, separation from his wife, the bitter divorce, her weeping, taking the daughter, the son staying and being in foster care? His being put in charge, his courage? The continued clashes with Bowie? Finally making concessions, helping Bowie before he died? The bravery with the cannon ball, his own death?

10. Bowie and his reputation, the legends, especially about his knife? A tormented man, his wanting to be ordinary, continually taunting Travis? The attempt at the truce and Travis firing the cannon? His fighting, illness, being looked after, the flashbacks, his love, the woman looking after him? The nature of his illness, dreams, shooting as he died?

11. Davy Crockett, the legends, Tennessee, the wild frontier, the bear? Washington, his not feeling at home there? Going to Texas, preferring to be David Crockett, going to see the play and congratulating the actor? Genial, his playing the violin, the fighting, the burning of the huts, his bravery in action, his men dying around him? His being executed? His asking Santa Ana to surrender to him?

12. The Mexicans, in the fort, those against Santa Ana, being used as couriers?

13. The deaths on both sides, the young, unnecessary?

14. Santa Ana and his hubris, his finally dividing his troops, against the advice of the subordinates, his pursuing Sam Houston?

15. Houston and his tactics, long term, his being rejected by the authorities, his drinking, anger? People pleading for him to send troops to the Alamo? His wanting to gather a big force? The arrival of the mere thirty-two and their deaths?

16. Houston and his leadership, his plan, his discussions about Napoleon, the story of Waterloo, finding the field, the decision to fight the Mexicans, the nature of the battle, Santa Ana being overwhelmed, over in eighteen minutes? Santa Ana and his surrender, his life and signing away Mexico?

17. The film as a war film, as anti-war? Issues of politics, American ambitions, double-dealings, invasions, resistance, independence movements? The relation of this 19th century history to the 21st century with individualism, enterprise, democracy?