AE FOND KISS

UK, 2004, 105 minutes, Colour.
Atta Yaqub, Eva Birthistle, Shamshad Akhatar, Ghizala Avan, Shabana Bakhsh.
Directed by Ken Loach.

For almost forty years, Ken Loach has devoted himself to films with passionate social concern. Not only is he still going strong, his reputation is higher than ever. During the last decade, he has won awards, critical acclaim and a larger following from the general public. His collaborator for the last seven or eight years has been a Scotsman, Paul Laverty, who spent some time in a seminary. This religious interest has been prominent in some of the films (like Carla’s Song) and it is one of the key elements of Ae Fond Kiss.

‘Ae Fond Kiss’ is a quotation from the poet, Robert Burns. The two protagonists of this film are involved in more than a fond kiss. He is an earnest young man, a local DJ, who lives with his family, preparing for an arranged marriage. She is a music teacher at the school which his younger servant attends. The crucial information, however, is this: he is the son of Pakistani migrants to Glasgow, strictly traditional and devoutly Muslim; she is a Catholic and her school is Catholic.

The romantic element is treated as might be expected, delightful little details (like moving her piano with his local friends) and a sudden holiday in Spain (where some of the production money came from). Much of it is routine with a touch of sentiment.

The drama arises when the family discovers the truth. Once again, a lot of this is what we might expect. The Pakistani parents are adamant. The prospective in-laws are shocked. The son is defiant. Where the film is of greater interest is in the Catholic response: the principal wanting to keep the teacher but the parish priest giving her a severe lecture on moral standards and examples for the children.

Matters come to a head when the Pakistani older sister finds that her boyfriend’s family will not permit a marriage because of her brother’s involvement with a non-Muslim. She makes a very strong case for self-sacrifice on the part of the couple, making a plea to both parties. However, we live in a very emotional world, where sympathies for those in love are usually stronger than relying on principles.

Loach and Laverty offer us a story where the issues are clear but where the answers are very difficult.

1. The work of Ken Loach? His social perspective? The lives of ordinary people? His work in Scotland?

2. The Glasgow settings, the streets and houses, the atmosphere of the suburbs, the differing racial neighbourhoods, shops, schools, the Catholic church, mosques?

3. The multicultural perspective of Glasgow, the Islamic traditions and attitudes, the Catholics in Scotland as a minority, in a Protestant country? The Scottish tone given in the title of Robert Burns’ poem – and the irony that in the poem the lovers have to part?

4. The significance of music, Roisin as a music teacher, class, singing, instruments, moving the piano into her flat? Casim and his being the deejay, the range of music that he played in the club? The music bringing each of them together?

5. The opening, the school, Tahara and her declaration of her identity, Pakistani, Muslim, in a Catholic school, her football support? The school as a place for finding one’s identity as well as a unity in Glasgow?

6. The portrait of Casim, his age, at home with his parents, his father building the extension to the house for him and his wife? His older sister, going to school to pick up Tahara? His life, studies, ambitions? British Pakistani? The Islamic traditions, language? His not revealing everything to his parents? The fight at school, rescuing Tahara, the breaking of the guitar? The glimpse of Roisin, the effect on him? His work as a deejay, his friend and his partner?

7. Roisin, Irish background, teaching at school, temporary, the fight, the breaking of the guitar? Casim, his not noticing her? The return, driving her home, bonding? The new guitar? The moving of the piano with his friends? The growing relationship, her not revealing it, her having to bow down in the car so that the Pakistanis would not see her? Her flat, the strength of the emotional relationship, sexual relationship, the cover and their going to Spain for the holiday? The possibilities of a relationship?

8. The background of the parents, their coming to the United Kingdom, bringing Pakistani attitudes, Muslim attitudes, traditions? The preparation for the arranged marriage, the meeting with Jasmine and her parents, the rituals, the way of speaking? Expectations? The father in his shop (and Roisin coming in to buy something and to have a look)? The comedy of the builders with the extension, the carrying of the piano up the stairs and it falling? Their continued support of Casim?

9. Rukhsana as the oldest, her engagement, the strength of her love for her fiance, the difficulties with Casim’s behaviour, her decision to meet with Roisin, her severe talking with her, the plea? Driving her through the neighbourhood? Where did audience sympathies lie in terms of the tradition, Rukhsana’s marriage, Roisin’s marriage?

10. Roisin and the headmaster, the possibility of permanent tenure, the documents, her visit to the parish priest, his interrogation about her life, her angry reaction, privacy, his loud and bullying method? The significance of Catholic teachers in a Catholic school and their being role models? The film’s point of view on this tenet? Her being assertive? Casim bringing her to the house, the visit to the extension and her reaction?

11. The nature of a Catholic school, the principal, his willingness to have Roisin on the staff, the fact of example, the priest and his dominance? The sympathetic presentation of the liturgy, the sympathetic priest and his celebrating of mass?

12. Roisin, examining her own love for Casim, her response to Rukhsana’s challenge, her seeing the meeting between Casim and Jasmine’s family?

13. Casim and his not telling the full truth to Roisim, his being trapped, Jasmine and Rukhsana’s reaction? The pressure on him?

14. Tahara, her place in the family, her age, at school, her ambitions, wanting to go to study, her father not wanting her to go, defying him, her telling Casim about the parents’ plans?

15. The end, Casim and Roisin together? Who was correct? Does love overcome all difficulties? The place of traditions, their social consequences? The theoretical issues behind the story, the intellectual content, the audience’s emotional response, response to a cause in ideology or empathy for the characters?

ARTEMISIA

France, 1997, 96 minutes, Colour.
Michel Serrault, Valentina Cervi, Miki Manojiovic.
Directed by Agnes Merlet.

Artemisia (Valentina Cervi) is Italian. Daughter of a famous painter, she is very talented and wants to train as an artist. As might be expected, this portrait of Artemisia is written with a 20th century perspective and shows the assumptions about men only as painters and the vistimisation of women and sexual harassment. This is quite an impressive film about art and inspiration as well as about artists. Some intense sexual moments mean that the film is rated R. However, it is frequently beautiful and thought provoking.

1. Audience knowledge of Artemisia (1593-1652)? As a woman artist of the 17th century? Her place in Italian art of the period?

2. The film as a biography, the film as a semi-fictitious drama, the exploration of themes in the life and work of Artemisia rather than an accurate history?

3. The 17th century settings, costumes and décor, the film’s lighting according to the art theory of the period, especially the art of Caravaggio? The presentation of art theory in the dialogue of the film? Perspective, colour?

4. The portrait of Artemisia, her life in Rome, as a teenager, her father being successful? The rules of the church, women not being painters? Her abilities, the support of her father, her working in his studio?

5. The issues of anatomy for art of the time, Artemisia and her own body as a model, her spying on the couple on the beach, the young fisherman, drawing his naked body, the kiss? Her wanting to learn more about the human form for her art?

6. Her personality, age and maturity and immaturity? Her relationship with her father?

7. The arrival of Tassi, from Florence? His skills, perspective techniques, innovations? Her attraction towards him? Tassi as a character, his reputation, debauchery, his working with her father on the frescoes? Artemisia and her spying on him, seeing the orgy in his house? Her relationship with him, her becoming a student, her modelling for him, the seduction, his love for her?

8. The long-time relationship, his coaching her? Her father, the spying, the discovery of the truth? His having Tassi arrested, the charge of rape, wanting to force Tassi to marry his daughter?

9. Tassi’s friends, their conversations about Artemisia, her reputation, especially the scandal of her life drawings from men? Using her art as evidence?

10. Artemisia on trial, her declaration that she was a virgin, the revelation of the truth? The ironies that Tassi had a wife and son at home?

11. The effect on Artemisia, her visiting Tassi, his imprisonment, her continuing to work? The sentence for torture? Tassi and his heroism, confession to rape, his wanting to save Artemisia? His being sentenced to jail?

12. Artemisia, never seeing Tassi, her growing reputation, the first great female painter?

13. Interest in Artemisia’s story, feminists and her role in art? This film as a rather more glowing interpretation of Artemisia’s life and work than the hard reality?

LET THE RIGHT ONE IN

(Sweden, 2008, d. Tomas Alfredson)

An enigmatic title which does not indicate the theme or tone of this quietly mysterious and even sinister film.

Set in a wintry housing estate in Sweden, it begins with snow falling and a young boy looking from a window. There are profiles of others staring into the cold night. The boy lives with his mother, has some contact with his absent father whom he loves. However, he is badly bullied at school and is reserved in his manner. It is not surprising that he makes friends with the young girl next door who has suddenly materialised and is comfortable in his company.

We soon learn what the boy takes longer to discover: that Eli, the young girl, needs to feed on blood to survive. Her mentor brutally kills some students. While the tone of the film is not particularly gory – though it has its moments – this is not your traditional vampire film. For one thing, we know nothing of Eli's origins or why she is in the apartment. She has no relatives and just survives from day to day (or, rather night to night). She has a powerful effect on the young boy who wants to 'go steady' with her. This is the first time that he has experienced anything like this, the new experience of having a girlfriend. It seems that it is the same for Eli.

In the meantime, the boy's mother fusses about him and worries about his behaviour at school. The older adults in the district who tend to resort to a local tavern find that some of their friends disappear and are mystified and upset. The police are investigating the unsolved killings.

The development of the drama is slow-burning. The danger is that the audience is not gripped emotionally but are more like detached observers, admiring the skills with which the writer, novelist John Ajvide Lindqusit, has built up atmosphere, and the director gradually immersing his audience in the moods and action so that it is quite affected by the end – the puzzle of what will happen to the boy and to Eli.

Those of a Jungian persuasion may be tempted, as this reviewer was, to wonder whether everything was really happening in the boy's mind and imagination because of the 'magic realism' episodes and the strange vampiric presence of Eli. She is an anima figure. The film is full of shadow figures: the bullying boys, inadequate parents, the sinister guardian, the strange neighbours, dogs and cats who are terrified when vampires are present. And the final scene...? Is it real, or has the boy finally retreated into his sub-conscious?

JAMAICA INN

US, 1982, 190 minutes, Colour.
Jane Seymour, Patrick Mc Goohan, John Mc Enery, Peter Vaughan.
Directed by Anthony Page.

Jamaica Inn is a lavish and long telemovie remake of Daphne du Maurier's 19th. century pirate thriller. The original film was directed by Alfred Hitchcock, his last British film in the '30s - starring Maureen O' Hara and Charles Laughton.

The focus in this version is on the heroine Mary rather than on the magistrate played in the original by Charles Laughton. In fact, the focus on the men concerns the innkeeper Joss (played eccentrically by Patrick Mc Goohan), the villainous vicar (played smoothly and deceptively by John McEnery) and the pleasant hero. Peter Vaughan appears in a supporting role, as the magistrate. The location photography is attractive as well as moody. The smuggling and piracy on the English coast in the 19th. century is suggested with overtones on brutality and the remnants of the Druid religion (eventually directly linked to the villainous vicar who performs a final ritual before his death.

The focus of the film is on Jane Seymour's portrayal of Mary. Jane Seymour began her career in Britain but after her presence in a James Bond film moved to the United States for success in the mini-series East of Eden and in such films as Somewhere in Time. Direction in by Anthony Page (Inadmissible Evidence, The Missiles of October).

1. The impact of this period action melodrama? Entertainment? An atmosphere of horror and terror? The style adapted for the television audience?

2. The popularity of Daphne du Maurier's stories? Victoriana? The bleak counties of coastal England? The colour photography? Music? The three-hour length of the film?

3. The classic status of the novel and Hitchcock's work? The film portrayed as a remake? A star vehicle for Jane Seymour? Closer relationship to the original novel than the earlier film? The TV style: length, beauty? The cast and their acting styles? Comparisons with the original?

4. The atmosphere: the credits, the sailing ships, the lighthouse and the altering of the light, murder of the lighthouse-keeper, the horror of the shipwreck, the townspeople, the attack of the crew and the slaughter? The transition to Mary and her mother, her mother's grief at the deaths? The Cornwall coast and its atmosphere? Way of life? The transfer to Jamaica Inn and its eeriness? The sinister atmosphere? The countryside, the weather, the coast? The background of Stonehenge and the religious overtones? The remnants of Druid paganism? A portrait of a part of England in the 19th. century?

5. The background of pirates and wreckers? Lighthouses, shipwrecks? The callousness of the wreckers? The fierce resistance of crew? The taking of goods and hiding them, the wealth to be had? The atmosphere of warfare with deaths. explosives?

6. The introduction to Mary - in her home, her mother's dreams, the dead father? The father haunting the mother and the family? The ominous shipwreck for Mary and the family? The background of local legends and superstitions? The finding of the dead father on the ship? The funeral dreams? The mother and her grief, madness, death?

7. The effect of the experience on Mary? Travelling to Jamaica Inn? The self-possessed heroine the heroine with pluck, the warnings on the way? The encounter with Jem? Meeting Patience and Joss? Patience and her moodiness - subject to Joss, moments of happiness, her knowing the truth and it haunting her? Joss and his mysterious manner, eccentricity? The moods of the place, the customers, fear, terror, secrets? Mary and her coping? The sergeant with the prisoners? Jem and the escape? Her falling in love? Her wandering the fields, encountering the vicar and his kindly support? Her growing fear and the secrets of the place? The ring and the fainting? overhearing murder plots? Her suspicions? Joss and his obsessive behaviour? Jem taking her to the fair, the humour of selling the pony to its owner? The vicar and his continued presence? The build-up to the new wrecking venture, the horror of the slaughter? Joss ranting - and his ultimate death? The death of Patience? The build-up of fear, hastening to the vicar, the realisation of his villainy? Her wanting to escape? The climax on the cliffs? Her decision to move away from Jamaica Inn?

8. The portrait of Joss: fierce, the story of his past, navigator, his ranting and his drinking, secrets, brutality, lust, treatment of Patience, torment? His secret meetings with the leader of the wreckers? The wreck and his final callous behaviour, his death?

9. Patience and her having to endure the marriage to Joss? The irony of her name? Her love for Mary, trying to help her, her varying moods? The brutality of her death?

10. Jem as hero? The initial encounter, attraction to Mary, suspicions, the selling of the pony? His pursuit of the vicar and the final confrontation? The decision to leave with Mary? His relationship to Joss?

11. The vicar and his austere presence, pasty appearance, the suggestions of his lustful attitude towards Mary? His unctuous manner and talking with her? Caresses, enticing? His continued appearances? Audience suspicion? The paintings and Mary's realisation of the truth? His madness, cruelty? The background of his Druid religion, anti-Christian, his being pursued on the hills? The confrontation on the cliff? His final Druid rituals before his death?

12. The Squire and his manner, audience suspicion of him, the execution of villains, the pursuit of the vicar?

13. The hardness of the life, of the times? The village, the inn and its customers, the markets. the class distinctions, the wealth distinctions? The scenes with the Squire's wife and the buying of the pony?

14. A picture of old England: Cornwall and the influence of the past, Stonehenge and the Druids. superstitions and legends?

15. A portrait of a region, of a period, of violence, malevolence, heroes and heroines?

JACKSON COUNTY JAIL

US, 1976, 84 minutes, Colour.
Yvette Mimieux, Tommy Lee Jones, Robert Carradine, Severn Darden, Nan Martin.
Directed by Michael Miller.

Jackson County Jail is a surprise. Not the kind of sensational exploiter title and advertising suggest, it is an effectively alarming story of a middle-aged woman driving across America and, by chance, robbed, held in jail overnight after a false charge against her, raped and forced to flee with a prison escapee. Despite the coincidences and ugliness, the plot is all too plausible. Yvette Mimieux brings credible dignity to the central role giving the film strength while it shows human suffering and criticises the inherent violence in America, contriving to bring the events to an ironic climax on July 4th 1976 during a bi-centenary procession. Ending swiftly, the film could have been satisfyingly longer.

1. The tone of the title and its emphasis? The advertising and the sensational style? Expectations? Fulfilment?

2. The quality of the plot and characterisation, the quality of the film and production? The work of a new director working within a small budget and brief running time? The achievement?

3. The creation of an authentic United States: the world of commercials, Los Angeles' homes and morals,, cafes on the roads, the highways and the hitchhikers, the stores in the middle American counties, the jails and their kindness and brutality, the protest and underworld of America? The particular view of the American way of life and its impact in the 70s? How applicable to a universal message?

4. The film as an American road film, the violence on the road, the allegory of modern America? The importance of the bi-centennial setting? The importance of the final patriotic procession the flag and the stop-sign with Coley's dead body?

5. The basic male response to the film? To Dinah, to her plight? The female response and greater identification with the character, her experience and suffering? Her vengeance?

6. The importance of the initial setting, the world of advertising, the ad itself, the subject advertised? Dinah doing her job and yet resenting it? The artificiality of this life-style? Dinah at home, the clashes with the man at work, her husband, an angry atmosphere and need for self-assertion?

7. How attractive a character was Dinah? Smart woman, New York to Los Angeles her huff with the boss, her return home, the encounter with David and her anger, her desperation at so many forgiveness’s, her phone call to New York, her determination to go and to leave immediately, her hopes for relaxation in seeing her country - the irony?

8. Comment on those who were against her and what they represented in American values: the advertising boss, Dave, the waitress who tried to cheat her, the hitchhikers and their taking the car, the store owner with rape in mind and charging her, the jailer who raped her, the hostile police? The significance of this group of people and the representation of an ugly and oppressive world?

9. The contrast with those who were for her: her New York boss, the girl traveller that she encountered moving in the opposite direction, the kindly sheriff, his assistant, Coley, Coley's friends? Not the obvious sympathetic people? The significance of this group and what they represented in an ugly world?

10. The humour and humanity of the cafe sequence, the pleasant girl she discussed roads with, the waitress and her attitude and her trying to cheat Dinah? The hitchhikers and their performance, their conversation about going to Alaska, their brutality in taking her car and even contemplating killing her? The importance of her going to the store after being brutalised?

11. The experience in the store, the phone, the washroom, the advance of the storeman (and the evidence of his religious background?), her language and the attack of the policeman, her being taken to jail? How credible were these events?

12. The experience of Coley? Dinah seeing him on the road at the time of his arrest? The intertwining of Coley's experience with Dinah's? The interview and the discussion between the two police about Coley's life, jail, attitudes, their treatment of him? Pro and con the treatment of a person like Coley?

13. Was it clear why Dinah was detained? Was any other process possible? The fact that her contacts were away? The pleasant treatment by the police, especially the sheriff in trying to find out the truth? The meal? The intercutting of Hobie and his return from the hunt, introduction to him in his attitude, sprucing himself up and combing his hair, bringing in the meal?

14. The build-up to the dramatic sequence of the rape: Hobie and his attitude, Dinah and her enforced wait, tiredness, Coley and the treatment of him in the next cell? The visibility from one cell to another? The build-up to Hobie raping? How credible? The comb and the mirror, Dinah's fear of him? How well portrayed was the rape sequence in its physical and psychological reality for Dinah and her fear and disgust, being physically overpowered? Hobie and his rapist attitude? His regret, his wanting to apologise?

15. The inevitability of his death and Dinah's reaction? Coley's intervention and persuading her to go? Should she have had the presence of mind to stay? Her fear and shock, her wanting to phone her sister, her tears? Credible behaviour from an ordinary woman that people in the audience could identify with? The build-up to the chase, the irony of the drunken couple and then their deaths? The pathos of the sheriff dying? The effect on Dinah coming to her senses, wanting to phone, arguing with Coley and his persuading her that she would never get justice? The pessimism of his own experience?

16. Dinah's encounter with Coley's friends, the change of clothes and wanting Dinah to kiss Coley for her? The brutality of the bashing as seen by her bruises etc.? The effect on her? The experience of being under siege by the police and escaping?

17. Flight to the house, the meal, the shared drink, the shared rest? The importance of the talk between the two and what Dinah understood about herself, about Coley? Was sufficient information given about Coley in his encounter with his friends?

18. The brutality of the fight between Coley and the farmer?
The desperation of their escape, of the chase with Dinah driving? The build-up of the chase and the shooting? Typically American, universal?

19. The introduction of the 4th of July parade, the bi-centenary and American values in history? The chase and Coley erupting into the chase? Dinah powerless because shot? The contrived ending of Coley dead with the flag and the road sign of "Stop"? A final pessimistic image? The final image of Dinah transferred to the police car locked behind it in a freeze?

20. What would be Dinah's future? Would she be able to explain everything?

21. The significance of this kind of entertainment, social study ? What did Dinah and Coley eventually have in common? The portrait of America and its values?

JUST ONE OF THE GIRLS

US, 1993, 94 minutes, Colour.
Corey Haim, Nicole Eggert, Molly Parker.
Directed by Michael Keusch.

Just one of the Girls is a very light, teenage variation on the theme popularised in Tootsie and Mrs Doubtfire, the man masquerading as a woman. Cory Haim is a student bullied by the boys at school, decides to get into the school and follow his music career disguised as a girl. He deceives teachers, one of the bullies who falls in love with him, his possible girlfriend. Ultimately, of course, he gets into all kinds of tangles and eventually is unmasked - or does the right thing in telling people the truth. The film is aimed at a teenage audience -who get something of a thrill out of the shenanigans of the characters. The film exploits jokes about sexual identity in a stereotyped way, although the father expresses himself as a liberal. A film reflecting some of the popular attitudes as well as some of the confusions of the 90s.

1. Entertaining comedy of disguise and role-playing? Designed for the very young audience?

2. The title and expectations?

3. Homes, college, musical studios, sports events? The familiar world of American high schools? The musical score and Chris's love of music?

4. Chris, his music, relationship with his mother and father, his sister, his best friend? Being bullied? The decision to disguise himself as a girl, help from his sister? His best friend knowing? In class, at the gym, in the shower-room? The expected jokes? Friendship with Marie and deceiving her? The gym teacher and her apprehension about the possible lesbian affection? Kurt falling in love with him, his leading Kurt on and trying to get him to change his bullying ways? In the cheerleaders squad? The confusions with the teacher, with his parents and their discovery, Marie's visit, the camp, his having to tell the truth? The variety of reactions? His continuing with his music?

5. The film's themes about men and women, sexual identity, stereotypes, homosexuality? Playing the stereotyped themes and jokes? A more tolerant attitude in some of the characterisations?

6. Marie, the cheerleader, clashes with Kurt, the other boys ? Chris, confidentiality? Her anger at the truth? The reconciliation?

7. Kurt, the louts at the school, bullying the boys, flirting with the girls? Kurt and his attraction to Chris, wanting to date her, their serious talks? The jokes about bringing out his feminine side? Finding out the truth and his embarrassment? The reaction of the other boys? The possibility of a fight, reconciliation?

8. Chris's best friend, being bullied, helping him with the disguise?

9. The parents, their attitudes? Chris's sister and her help? The father training his son to box? Finding out the truth, his angers? Reconciliation?

10. The teachers and their perceptions, wanting to help, the gym teacher urging Chris to be honest?

11. A treatment of serious themes geared for a high school audience?

THE JUNGLE BOOK

US, 1942, 109 minutes, Colour.
Sabu, Joseph Calleia, John Qualen, Frank Puglia, Rosemary de Camp.
Directed by Zoltan Korda.

The Jungle Book is the classic Alexander Korda production. Korda made his mark in England in the '30s with such films as The Private Life of Henry VIII as well as his ambitious I, Claudius. With the outbreak of war, he moved production to the United States and completed such films as Lady Hamilton, The Thief of Baghdad. The Jungle Book belongs to this period.

It was a family affair, designed by his brother Vincent Korda and directed by his other brother Zoltan Korda.

The film stars Sabu, who had appeared in The Thief of Baghdad - he is ideal as Mowgli, the jungle boy. An American and British cast take the supporting roles (which gives mixed accents for the cast of Indian villagers).

However, the film is very attractive with its stylised colour photography (so colourful it is almost an enchanted jungle). The shots of jungle animals are particularly well done and well edited into the film.

The film is based on a story by Rudyard Kipling, giving the animals of the jungle and their packs names and personalities and vitality. It is a variation on the wild child story. However, there is a human story about greedy villagers and their mutual destruction. The film has the tone of a moral fable.

The film was remade, quite delightfully, as a Disney animated feature in the mid-'60s.

1. An entertaining classic? Rudyard Kipling's story? The jungle, the background of India? The moral fable?

2. Colour production, the beauty of the jungle colour photography? The sequences with the animals? The Indian village, the lost village, the treasure? The emphasis on colour and beauty? Miklos Rozsa's musical score?

3. The title, familiarity with Kipling's story and characters? Adapted to the screen? The device of the animals having names, having voices and personalities? How credible for the fairy tale?

4. The framework of the Indian old man telling the story to the British woman? The Jungle Book in his eyes? The truth of the story? His making it up? Audiences being drawn in by the story?

5. The village, its way of life, the mother with her child and her care for him, the head of the village and his greed, control of the others? The child wandering off into the jungle? Taken by the tiger? Running into the cave with the wolves, being reared by the wolves, the jungle boy, the law of the jungle, language of the jungle, skills?

6. The background of the jungle - the beauty, the flora and fauna, the close-ups of the animals? A sense of realism of the jungle?

7. Sher Caan as the evil tiger, the enemy of the boy? The boy and his life in the jungle, going into the village, fascinated, caught by the people? The mother - recognising her son or not? The enmity of the head of the village? Cared for by his mother, taught and trained, language? The communication between them? His life in the village, buying the knife? The girl and their friendship? Going into the jungle, his taking her and showing her the animals, communicating with them? The lost city, the treasure, the warning of the cobra? His mesmerising the girl? Harmless? The warning not to take the jewels, taking one coin?

8. The father and his discovery of the coin, losing it, the barber and his customer, their plan, their taking Mowgli, whipping him? Taking his mother and tying her up? The expedition to the lost city, the dangers, the discovery of the jewels, their greed, fighting amongst themselves, the murders, the father returning without any jewels? Anger with Mowgli? Setting the jungle ablaze?

9. Mowgli and the girl, the escape, rescuing all the people and taking them to the island? Rescuing his mother?

10. Mowgli and the animals, the panther - and the men thinking that Mowgli had turned into a panther? The snakes, the crocodiles? The hyenas?

11. Family entertainment? Indian fairy tale? Fable about animals and about humans?

julien donkey boy

US, 1999, 95 minutes, Colour.
Ewan Bremner, Chloe Sevigny, Werner Herzog, Joyce Korine.
Directed by Harmony Korine.

julien donkey boy is the work of Harmony Korine, made when he was in his early twenties. Korine had already written the screenplay for Larry Clarke's Kids and directed Gummo. Both films were controversially received both critically and with the public. The Dogma group in Scandinavia, led by Lars van Trier, invited Korine to make this film according to the Dogma manifesto of using natural light, sounds etc. Korine seems to have gone to the extremes of the Dogma profession with his hand-held camera (30 cameras), the editing down of six and a half hours of filming, his using only improvised performances after throwing away his script. However, the camera work is absolutely stylised, generally not fully focused. Camera angles and camera movements are at times distracting, even though characteristic of Korine's film. There is a strong soundtrack with contemporary music, negro spirituals, Baptist hymns as well as Puccini. The film marks Korine's entry into the world of critical cinema - a view which he shares himself, considering himself a film genius and having contempt or disdain for most other film-makers. Audiences will make what they can of this film.

1. For what audience was the film made? The philosophy behind it?

2. The Dogma creed, natural lighting and sound, hand-held cameras, the reaction against artificiality of construction, filming, screenplay. How much of a Dogma film is this?

3. The impact of the visual style, focus, colour, movement? The range of sound? The editing and pace? Effect?

4. The range of music and its contribution: songs, Gospel, Puccini?

5. The fragmented nature of the film and the performances, shattered? Moments of lucidity? Julian living in a literal madhouse? The central character being schizophrenic and Korine's attempt to visualise the sights and sounds and consciousness of schizophrenia?

6. The prologue and the boy with the tortoise, Julian attacking him (killing him or not), the quoting of scriptures and the theme of the lamb of God taking away the sin of the world?

7. The religious motifs throughout the film, prayer, belief in God, individual religion and not going to church, the confessional sequence, the nun in the fantasy, the Baptist church and the preaching, the singing, the singing of Amen? The particularly Protestant salvation theology, the inner corruption of human beings, sin as not being able to be forgiven but merely to be covered over by the blood of Christ? The theology of the Crucifixion? Julian and his crucifix around his neck? The deaths in the film - and themes of atonement and forgiveness?

8. The house and the occupants: Gran and her love for her dog, Dad and his dress, dancing, gas masks etc? Pearl and her pregnancy, ballet dancing, harp-playing? Chris and his strenuous exercises, being hosed by his father? Mealtimes and discussions? Julian and his poem and his father dismissing it? A chaotic family?

9. Ewan Bremner's performance as Julian, his appearance, manner of speaking? In the house, taking his bath, looking in the mirror? The game with Pearl and the phone call and his mother concerned about his teeth and her being a dentist? Dad and his emphasis on people being champions, the wrestling sequence with Chris and Julian's inability to wrestle? His chaos poem and his father's dismissal of it? His work, with the blind people, with the group? At church, confession, listening to the sermons, singing the hymns? The skating, the blind girl and her talk about dying? Pearl's pregnancy, going to the hospital? Claiming the baby, holding it, taking it and destroying it?

10. Julian's father, his European background, the discussions about skiing, the stunt with balance and the cigarette? His personal dancing, music? His philosophy of winners? His long speech about the end of Dirty Harry and bullets and being lucky? The contrast of this realism with 'artsy fartsy poetry'? Hosing Chris, supervising the wrestling, his presence at church? His condemnation of Pearl and her harp-playing? The madness of the father and its effect on each of the children?

11. Pearl, the ballet practice, supervising the wrestling, pretending to be her mother and talking with Julian, the dentistry? The harp, going skating, the birth of the baby and its death?

12. Chris and his exercises, his father's pep talks about winning, the wrestling, the hosing?

13. At the club for the blind, the black albino and his rap song? The blind people and their lives, the bowling alley? The man with no legs and his drumming? The magician show - and the man swallowing all the cigarettes? The gallery of eccentrics and grotesques?

14. The young girl and the skating, blind, her discussions about death, sharing with Julien?

15. The ultimate impact of the film about life and its meaning, suffering, madness, family, friendship, life and death?

JUDO SAGA 2

Japan, 1943, 83 minutes, Black and white.
Directed by Akira Kurosawa.

Judo Saga 2 follows on the original Judo Saga, made by Akira Kurosawa during World War 2. These are two of his earliest films. By 1950, with Rashomon, he had emerged as one of the world's leading directors. He made Living, The Seventh Samurai, Throne of Blood and other films during the '50s as well as Yojimbo and Sanjuro, High and Low, The Lower Depths during the '60s, Derzu Uzala during the '70s and Kagamusha and Ran during the '80s. This is a basic film, set in the 1880s in Yokohama, highlighting the Japanese martial arts traditions and the opening up to the West, especially to the United States, and the sport of boxing.

1. The early work of Kurosawa? His subsequent career? This film in his development?

2. The black and white photography, the style of film-making in the '40s, the 1880s setting? Design and style? The martial arts and their choreography? Musical score?

3. The history of Japan in the late 19th century, the retrospect of 50 or 60 years from the point of view of the '40s? The 1880s, Yokohama, the tradition of the martial arts, the arrival of the Americans?

4. Sugato - hero, his status, the martial arts, judo, his initial clash with the sailor, the badgering of the agent, his suspicion of boxing, his lifestyle, his adviser, the women in his life, the arguments?

5. The picturing of the martial arts, the variety of styles, judo, karate, jiu-jitsu? The contrasting style with boxing? Code, sport, physical contact, effect on the opponent? The rivalries of the various martial arts schools?

6. The promoter, Japan changing, the United States? William Lyster and the boxing bouts? Sugato and his reaction?

7. The adviser, the traditions, the effect on Sugato?

8. The boxing bout, the experience - and Kurosawa's view on boxing and the US?

9. The '40s consciousness in Japan - its isolation, coming to Empire, pre-World War 2, the effect of the war, traditions, the West, change?

JUDICIAL CONSENT

US, 1994, 101 minutes, Colour.
Bonnie Bedelia, Dabney Coleman, Billy Wirth, Lisa Blount, Will Patton, Kevin Mc Carthy.
Directed by William Bindley.

Judicial Consent is a murder mystery with a twist. Bonnie Bedelia plays a rising lawyer who is to be appointed a judge. She becomes involved with a young man, imprudently, and her husband becomes suspicious. However, he suspects a prominent colleague. When the colleague is murdered, there are suspicions on a variety of people. Ultimately, all the evidenced points to the judge. However, she could not have done it because she was with the young man at the time of the murder.

The film has quite a number of twists. It shows the imprudence of the judge, her trying to keep calm as she administers the case which ultimately will lead to her arrest. There is a strong supporting cast, mainly in cameo roles, Kevin Mc Carthy as an elderly judge, Dabney Coleman as the victim, Will Patten as the judge's husband. However, the focus is on Billy Worth as the young man - who has more to do with the murder than is first thought. The film moves to a rather melodramatic climax in order to resolve everything.

1. Interesting and entertaining telemovie? Murder mystery? Portrait of a judge and her affair, imprudence, becoming victim?

2. The Detroit locations, the city, the law courts, apartments? The atmosphere of Detroit? The musical score and its atmospheric themes?

3. The title and the focus on the judge, her behaviour, its consequences?

4. The prologue and the provocative scene in the train, the murder? The judge and her presiding over the case, the death penalty and the murderer's execution? The irony of the resolution - her looking at the photos of past cases, mystified, noticing the tattoo, the connection with Martin?

5. The character of the judge: with the elderly judge and her abilities, his promoting her, her knowledge, study? The brittle relationship with her husband, her making herself up, going to the dinner, the nomination? The later clashes? His jealousy and aggression? Her resisting him, his walking out? A focus of suspicion? Her relationship with the dead man? Colleagues? His flirting? His death and its impact? Her encounter with Martin, in the judge's chambers, at the library, the poetry, the communication, her going back with the book, the encounter, her return, the sexual experience and its aftermath? Her lies? His disappearance? His giving her an alibi? The clash with Theresa Lewis in the courts, personally? Presiding over the case, her distractedness, the evidence piling up against her? Her inability to communicate the truth to others? The clash with the detective and going to the warehouse? The earrings, the underwear, the poetry book, the signature? Her handling of the situation? Her telling the detective - and searching for the gavel? The murder of the detective, the confrontation with Martin in the library and then at home? The struggle? Her vindication?

6. The motivation for framing her? The young man and his father, his despising of his mother, seduction and despising of Gwen? His disappearance? The final confrontation? His character, searching for information about Gwen? In the photo, information from Stacey, the poetry books? His setting her up with the phone calls, the murder, the disguise, the earring? His despising of her? In the house, the struggle - and his death?

7. Alan, estrangement from Gwen? The dinner, his smile, suspicions, searching her office, watching her with Mayron? His disappearance? A suspect?

8. Theresa Lewis, the personal clashes with Gwen, professional jealousy, Gwen's harshness in not giving leniency? Her arguments with Mayron? As a suspect? Defence counsel, the conduct of the case, suspicions of Gwen?

9. Mayron, his work, flirt, his murder?

10. The judge, his backing of Gwen, phone calls, testing her out on her information, coaching her for the nomination?

11. The accused, the affair with Mayron, her innocence?

12. The detectives, suspicions of Gwen, complaints about her going over their heads? The false alarm at the warehouse? The death of Tony in the house?

13. Themes of justice: murder, motivation, trials, evidence, motivation? The harshness of sentences? The death penalty - their effect on the judge, victim, on the family of the deceased?

14. A blending of murder mystery with an exploration of themes of the judiciary?