NOTRE MUSIQUE

France, 2004, 80 minutes, Black and white and Colour.
Directed by Jean Luc Godard.

80 minutes of Jean Luc Godard, 21st century style. The champion of French cinema of the 1960s, the ideologue of cinema as art as well as teacher, the experimentalist of more recent decades, now seems to have some peace despite his heartfelt detestation of war. While music is key to the experience of this film, it is the images which have most impact.

Godard borrows from Dante in the structure of his film: the three kingdoms of Hell, Purgatory and Heaven. However, his 'comedy' is less than divine in the sense that he decries the inhumanity of the human race. God, however, or, at least, the transcendent is not absent.

Godard has done a lot of work on compilation films, collages of seemingly disparate images which combine to form a visually poetic study of a serious issue. His Hell is a collage of images of war, some from news, some from archives, some from the movies about war, including old cowboys and Indians, the American Civil War (and some modern American images). His Purgatory is situated in Sarajevo, evoking memories of the Serb troops in the surrounding hills a decade earlier, but showing a city coming to life again. Visitors come for conferences on literature, for lectures on text, cinema and image, Godard himself included. This provides opportunity for interesting and stimulating discussion on war, especially on the Israel/Palestine conflict. It also raises issues of how cinema works on the sensibilities and psyche of the viewers. The Heaven sequence is briefer, more some images of beauty and of hope.

Godard includes many arresting quotations like death is 'the possible of the impossible' or 'the impossible of the possible' and, from a Catholic woman executed in 1943, 'the individual seeks two, the State seeks one'. Challenging but also more accessible Godard.

1. The work of Jean Luc Godard, especially in the 1960s, his kind of film-making, narrative, ideology of cinema? The emphasis on cinematic techniques?

2. The brevity of this film, the 21st century, Godard’s changing styles, visuals? The musical score and its range? Its being chosen to accompany Hell, Purgatory and Heaven?

3. The use of the framework of Dante’s Divine Comedy? Godard’s perspective on the human condition, divinity, humanity, comedy and tragedy?

4. The overall effect of the experience of the film: visual, aural, emotional, intelligence?

5. The title, people of the 21st century, facing a new century in the light of the wars of the 20th?

6. The scope of the three parts, time, Purgatory on Earth – and the brevity of Heaven?

7. Part one: Hell: the collage, images of war, planes and tanks, battleships, explosions, gunfire, executions, people in flight, devastated countryside, villages destroyed? The silent images? The girl’s commentary about the nature of Hell? The four pieces of music? The use of newsreel footage, realism, movies about war? The truth and fiction of war? The pauses for reflection?

8. Part two: Purgatory: Bosnia, the experience of the 1990s and the war, Sarajevo as victim city? The ten years after perspective on the war? Audience awareness of what had happened in Sarajevo? The visuals of the city, the hills where the Serbs fired on the city? Contemporary transport, the airport, the buildings, exteriors and interiors, ordinary life resuming?

9. The characters within this context, Godard himself, the man from Israel and his being interviewed by Godard, his going to Israel in 1948, going to France, his military service in Israel, returning to France? The girl, Israel, Palestine, her living in New York? The various lecturers for the conferences? The staff and the drivers?

10. The discussion in the Purgatory section, on peace and war, on Israel and Palestine, on life in France? Issues of identity? The discussions about film, text, literature, images, the experience of media, communication, truth, the future of film in a digital era?

11. The despairing girl, the 21st century? The visit to the Mostar Bridge, the reconstruction, its antiquity, as symbolism of guilt to forgiveness?

12. Part 3: Paradise: its brevity, beauty, the images of water, the young woman seen in Purgatory, her self-sacrifice, peace – and the beach and the American Marines?

13. The maxims about death: “the possibility of the impossible or the impossibility of the possible”? The Catholic woman beheaded in 1943, “the individual wants two, the state wants one”? The discussion about the image of Our Lady of Lourdes, not in the popular Renaissance portraits but Bernadette recognising Mary in the icon of Cambrai? Godard and icons and contemplation?

14. The film and the experience of war, savagery, signs of hope, God, the absence of God, contemplation, harmony, life and peace?

THE NEVERENDING STORY 3

Germany, 1994, 95 minutes, Colour.
Jason James Richter, Melody Kaye, Jack Black, Freddie Jones.
Directed by Peter Mac Donald.

The Neverending Story was a great success in the 1980s. A blend of fantasy and realism, it made a plea for literacy and imagination to combat the Nothingness. The young hero, Bastian, confronted the Nothingness with the aid of magical characters in Fantasia. The film was directed by Wolfgang Petersen who went to Hollywood to make quite spectacular films including In the Line of Fire and Troy. The second film was directed by Australian George Miller (The Man from Snowy River) and continued the imaginative quest of the first film. The third film is much lower-budget, spends a lot of its time in the real world rather than in Fantasia.

Bastian still has to combat the lack of imagination, but he finds it in the Nasties who persecute him at school and in his stepsister, Nicole. In the world of Fantasia, he has to meet the princess who will give him the magic necklace to grant his wishes. This is taken by his greedy stepsister and she goes on a shopping spree, turning nasty, as does everyone in the shopping mall. Bastian has to confront the Nasties and does so, with the help of Nicole.

The film does have a range of imaginative characters, the talking tree, the rock monster, the luck dragon… However, the film is much less interesting and has less impact than the early films. Of interest, the villain leader of the Nasties is played by Jack Black who was to become famous at the end of the 90s in such films as Jesus’ Son, High Fidelity, Shallow Hal, School of Rock.

1. The popularity of the Neverending Story trilogy? Audiences identifying with Bastian. A children’s film, a film for parents? Imagination, literacy?

2. The real world, home, school, shopping mall…? The Nasties in this real world? The contrast with Fantasia, the world of the story book, its look, characters? A place for quests? The musical score?

3. The title, its reference to the imagination continuing, the threats of Nothingness and the loss of imagination? The human quest for creativity, literacy?

4. Bastian, his age, his father marrying, Nicole, her aloofness? Life at home and his not being happy? Life at school, the new school, the Nasties? The library, Mr Coreander, his having introduced Bastian to the Neverending Story? The support of Mr Coreander in the fantasy world against the Nasties?

5. Bastian in Fantasia, his meeting the two gnomes, a Nastiness in Fantasia itself? His going on a quest, the landscapes of Fantasia, the old friends, the talking tree, the baby rock monster, Falkor and his being able to fly? The visit to the empress, the ivory tower, her explanation of what was happening, her command to fight the Nasties in the real world? The gift of the Auryn, the necklace able to grant wishes? The journey back to the real world, the dispersion of the creatures, the search to find Bastian in order to get back to Fantasia?

6. The Nasties, their personalities, the head of the Nasties, Slip, and his command of the children? The tricks, the getting of the Neverending Story, reading, the controlling of events in Fantasia, in the real world? Their wanting to get the Auryn? Wanting to be all-powerful?

7. Bastian, the tricks of the Nasties, his search for his friends, Nicole finding the Auryn, her realising what it could do, the extravagance of her shopping spree, pursued by the Nasties, their getting of the Auryn?

8. The Nastiness in Fantasia, people cruel, selfish, the same in the real world, greedy, angry, Bastian’s parents?

9. Bastian, his gathering all his friends? The confrontation with Slip, the challenge to the fight? Combat, the battle? Nicole, her getting the book, her reading out loud? Her reading the victory, it happening in the real world?

10. Bastian and Nicole, reconciling their parents? The imaginary world and the real world and order restored? The Nasties and their change of heart? The storybook happy ending?

NOSTRADAMUS

UK, 1993, 126 minutes, Colour.
Tcheky Karyo, F. Murray Abraham, Rutger Hauer, Amanda Plummer, Julia Ormond, Assumpta Serna, Anthony Higgins, Diana Quick, Michael Gough, Maja Morgenstern.
Directed by Roger Christian.

If audiences want the historical setting for the life and times of Michel de Nostradam (1503-1566), then they will find something here to interest them: his medical background, his reading of forbidden books, his psychic experiences and Catherine de Medici (Amanda Plummer). If audiences want to delve into the prophecies and their alleged fulfilment, then they will have to be satisfied with some footage from newsreels about Hitler, Nazis and World War II, the Kennedy assassination and Saddam Hussein (seen in his washing dish). The only prophecies after the 1990s safely concern space exploration and human hope. Otherwise this is an international mixture of stars (Tcheky Karyo as Nostradamus, Julia Ormond and Assumpta Serna as his wives, Anthony Higgins and Diana Quick as Henry II and his mistress plotting against him), pageantry and many touches of bathos (and passing off Nostradamus as something of a sexpot). The direction is by Roger Christian (Lorca and The Outlaws). Good historical settings but weak drama.

1. The popularity of Nostradamus over the centuries, his reputation for prophecies, audiences interested in his life, his prophecies? The way that they have been interpreted, in his time, shrewd observations, people reading backwards events into the prophecies? The stance of the film, seeing Nostradamus as an authentic prophet?

2. France in the 16th century, people’s ordinary lives, the towns, the detail of daily living? The contrast with the court of the Medicis? Sumptuous style and décor, costumes? The musical score?

3. The portrait of Nostradamus himself, his Jewish background, his conversion to Christianity, his secret books, his work at medical school, the herbal cures, his antagonism towards bleeding? The attitude of the Inquisition and persecution? His joining the house of Scalinger, the heretical scientists and their group? Their library, Michel and his reading the books? Marie and her work as Scalinger’s apprentice, Nostradamus and his rescue of her from her depression, marriage, their children? His work in astrology? The beginning of the visions, the destruction, the assassinations (and the images of the destroyed city during the opening credits)? The plague, Marie’s death, the children? The forbidden book in Marie’s possession, the persecution of Nostradamus, his fleeing, abandoning his library? His marriage to Anne, his burning the books to avoid the persecution, the growing number of prophecies, their publication? His work with the King of France, the prophecy about the death of the king, the jousting, Catherine de Medici and her response? Her own reaction to her husband’s dalliances, Diane de Portier? Henry and Diane, the attempt to kill Nostradamus, the poison, the help of Catherine de Medici? His reassuring prophecies to her, about her children and their becoming rulers of France? The prophecy about her long life? His sister-in-law, the denunciation, her own sexual advances towards him and his rejection? The support of Catherine de Medici, his being saved from the Inquisition? The beginning of the religious wars after the death of King Henry? The final prophecies – especially of the 20th century, the 1960s, the 1990s – but very little beyond except general hope?

4. Catherine de Medici, her husband, his death in the jousting accident, her curiosity about Nostradamus, fascination with him, supporting him, his prophecies about her and her children? Her saving him from the Inquisition? Her husband, his affair, the plot of Henry and Diane to kill Nostradamus? The royalty in France in the 16th century?

5. Scalinger, the cabal of scientists, their methods, secrecy, library? Herbal cures? Advances in medicine? Scalinger himself, his leadership? Marie, her work for Scalinger, her attempted suicide, Nostradamus’s help, marriage? Her death with the plague?

6. Anne, the widow, her attraction towards Nostradamus, their marrying? His own plight, pretending to be a Christian, continuing with his prophecies? The advances of Helen, his rejection, her vengeance and denunciation?

7. The plausibility of having a prophet in the 16th century, making prophecies about the future – audiences intrigued, superstition, faith in prophecies rather than authentic revelation and facts?

THE NOTEBOOK

US, 2004, 128 minutes, Colour.
Ryan Gosling, Rachel Mc Adam, James Garner, Gena Rowland, James Marsden, Joan Allen, Sam Sheppard.
Directed by Nick Cassavetes.

If ever there was a big-budget Hollywood feature that proved that you can make a movie today just as they used to, it is The Notebook. It is lush and romantic, pretty as many pictures, its heart beating on its sleeve. Not a film for the cynics.

Based on a bestseller by Nicholas Sparks, it begins in the present with an old man reading a story from a notebook to an old lady in a home for the elderly. It is James Garner reading to Gena Rowlands (mother of the director, Nick Cassavetes). The woman is afraid, disturbed and suffering from dementia. But she listens attentively to what she says is a good story.

Then we see the story, coming back to the present every so often. It is the 1940s in the American south. Summer and holidays. Noah, who works in a lumber mill and has very few prospects, is attracted to Allie, a vivacious young girl from a wealthy family who is on holidays. They fall in love, they… well, it is not too hard to anticipate what will happen…

Ryan Gosling gives a credible performance with a difficult role: an earnest young man in love, disappointed in love, off to World War II and the attempt to settle after the war. Rachel Mc Adam is wonderfully spirited as the emotional young girl, pressurised to conformity by her mother (Joan Allen) and then trying to find her true self.

The danger with this kind of film, inviting us to lose ourselves in the emotions of the characters, is that it can become too much, at times too twee, at times too melodramatic. But, this is what the film intends to be and does it.

1. A pleasing film? Old-fashioned in style? In theme? The adaptation of a popular novel? An old-fashioned film for the beginning of the 21st century?

2. The film’s perspective on the 20th century, the 1940s, its lifestyle, the experience of the war, class differences, marriage, happiness and possibilities in life? The symbol of the scenes of the rowing on the river and their beauty?

3. The 1940s, Seabrook as a town, the detail of life, homes, mansions, the shops, the carnival and the ferris wheel? The transition to the 50s, the building of the house, the portrait of society, business? Authentic atmospheres, the brightness of the colour photography, the mood of the score?

4. The glimpse of World War II, the battle sequences, the death of Finn, Noah’s experience, the effect of war and its impact?

5. The title, Noah narrating the film, Allie and her writing the notebook – and its being used to stimulate her memory, even if for a short time?

6. James Garner and Gena Rowlands and their screen presence, the sequences of the reading of the notebook, Allie and her listening? Her interest in the story, wanting to know what happened? At the home, the treatment for each of them, the senility and loss of memory, the shift of moods? The nursing staff and their care? The opinions of the doctors and their scepticism about memory regain? Noah and the reading, sharing everything with Allie, stimulating her memory, having meals, the candle-lit table? The insertion of the flashbacks? The revelation of who Allie was? The children visiting? The doctor and his wariness? Allie and her coming back, asking for how long, even for five minutes? Noah and the children, his decision to stay with Allie, love and care until the end?

7. The 1940s and Noah and Finn, young men, their work in the lumber industry, the scenes of the logging, the deliveries? Their life, friendship, family? Noah’s father and his being genial, support of his son, welcoming Allie? The discussions with his son? The carnival sequence, the ferris wheel, Noah showing off, pressurising Allie for the outing, her consenting? The detail of the summer, their time together?

8. Allie, her age, from the city, her friends? The background of her family, their wealth, snobbery? The summer, friendship with boys, Noah and his approach, her avoiding him, the ferris wheel, her giving in? The detail of their time together, walking, the movies, talking? On the river? Noah’s father, Allie’s parents and the formality of the meal, the interrogation of Noah about how much he earned? Noah taking Allie to the mansion, the preparation for the sexual interlude, the interruption, her parents being strict with her, sending her away? Her anger, her arguments with her mother, her desperation? Noah and his reaction, his love for Allie, feeling that he should let her go?

9. Noah, writing a letter every day, Allie’s mother not delivering the letters? His decision to stop writing, his going to the war, the harsh experience, the pathos of Finn’s death? His return home, going back to work, his father selling their house and buying the mansion, the years of rebuilding? His sad life, the liaison with the widow, his glimpsing Allie? The photograph being taken?

10. Allie and her studies, her friends at college, her parents and their happiness with her progress, her decision to go nursing during the war, the disfigured men, her care for them, her care for Lon? Lon and his flirting with her, their meeting after his recovery? His falling in love with her? The dance, the proposal at the microphone? Her loving Lon, the preparation for the marriage, the wedding dress? The irony of her seeing the photo?

11. The sketch of Allie’s parents, the father and his southern style, talk, love for his daughter? The mother, her pressure on Allie, her joy at the engagement, the dance (and even her jitterbugging)? The wedding dress, the plans? Her wariness about Allie going back to Seabrook, her taking Allie to see the man that she had fallen in love with when a girl, the story of the pressure from her parents?

12. Allie’s return to Seabrook, Noah’s reaction, their talking, sharing, the sexual relationship, Allie’s options? Her anger with her mother?

13. Her mother, relenting, her talking with Lon, her doing the decent thing and letting her go?

14. The importance for the audience of being able to see the young Allie, know her story, see the older Allie, regret her loss of memory, her wanting to know the details of the story? The build-up to Allie and Noah coming together, their long marriage and their love?

15. The aftermath of the marriage, Noah and his heart trouble, his being absent, the return, the decision to always love and stay with Allie?

16. The film as a love story? As a story of ageing? As a story of the ravages of age and senility?

NEVER BEEN KISSED

US, 1999, 108 minutes, Colour.
Drew Barrymore, David Arquette, Michael Vartan, Molly Shannon, John C. Reilly, Garry Marshall.
Directed by Raja Gosnell.

Never Been Kissed is a story about an ugly duckling – at least Josie Geller, played by Drew Barrymore, considers herself an ugly duckling after being persecuted at school. She has become a journalist and is commissioned to write an expose of life in contemporary high schools. She poses as a student, enrols in a class, is attracted to the most handsome boy in the class – which reminds her of her traumatic days at school. She is befriended by a brainy student, played by Molly Shannon. She also flirts with the English teacher, played by Michael Vartan. John C. Reilly is her editor. David Arquette plays her brother.

Ultimately, Josie is successful at school, becomes the Prom Queen, but is finally exposed. There is the difficulty that the teacher was attracted to a school student, a rival newspaper gets her story. Instead, she writes a confessional piece for the paper and apologises to everyone.

This is a pleasing comedy, a good vehicle for Drew Barrymore who has the opportunity to make a transformation from dumpy ugly duckling to Princess Charming. The film was directed by Raja Gosnell, editor with John Hughes on the early Home Alone films. Gosnell went on to make the Scooby Doo feaures.

1. A kind of Cinderella story in the contemporary US? The ugly duckling story? Emerging as a swan? The world of newspapers? High schools?

2. The Chicago setting, the city, the newspaper headquarters, the school? Authentic atmosphere? The musical score and the range of songs included?

3. The title, Jessie’s memories, being ridiculed at school, her becoming very prim? Her work at the paper, going to school – and being attracted to the young men, to the teacher – and being kissed? A variation on the romantic genre?

4. Drew Barrymore as Jessie, age, appearance, able to pass as a teenager? Strait-laced and prissy? Her behaviour in the office, correcting people, her correcting copy? Her relationship with Gus and his commissioning her to get the report on the school? His urging her to keep going on the assignment?

5. The newspaper board, the chairman, plans, ideas, allowing Jessie to girl undercover?

6. Jessie in herself, the scenes at work, scenes at home? Her relationship with her brother, Rob? Going to the school, her being twenty-five but passing for a teenager? The plans, her study? Arrival, clothes, the reaction of the students in horror? Her harsh judgment of them? Her finding her friend? The bond between the two? The club, activities? Her relationship with the teachers, especially Sam? Shakespeare and the infatuation with the subject and the teacher? The sports sessions, the push-ups? The infatuation with Guy, the memories of being pelted? Her being prone to accidents?

7. The camera, the photos, the reaction of the editor, the staff? Anita and the friendship? Watching, the bet, the final cheer?

8. Rob, his going to the school, his being popular? His past career, becoming a slacker? His willingness to help Jessie? His rediscovering himself and becoming a sports coach?

9. The build-up to the prom, the invitations, the dare? Guy and the other students? The studying of As You Like It – and the Shakespearian theme of disguises and true love? The hypocrisy, the opening up? The princesses and glamour? Anita, the accident? People’s spite, Josie coming clean and revealing the truth? The vacuous students, their comeuppance?

10. Sam, teaching, love for Shakespeare, infatuated with Josie? The prom? The outburst and his being hurt?

11. The melodrama of the outburst, the points that Josie made? The effect on Rob?

12. The editor, her having to confess failure, another journalist and paper scooping her story? Her confessional article? Everybody reading it? The game, the dialogue? The final kiss?

13. The touches of an American fairy tale?

THE ROCKETEER

US, 1991, 108 minutes, Colour.
Billy Campbell, Jennifer Connolly, Alan Arkin, Timothy Dalton, Paul Sorvino, Terry O’ Quinn, Ed Lauter, James Handy, Tiny Ron, Jon Polito.
Directed by Joe Johnston.

The Rocketeer is an entertaining Disney film. It was based on a graphic novel – a precursor of the many such action adventures that were to be made in Hollywood over the coming fifteen years.

The setting is 1938, the eve of World War Two. The film focuses on a group of fliers who performed acrobatics in clown uniform for entertainment. They were also trying to break air records. Suddenly, during the test, the FBI chase a group of gangsters who go across the runway and destroy the plane. However, the gangsters hide what they had stolen, a new rocket suit invented by Howard Hughes, in the hangar.

Various adventures follow – including a Nazi spy ring, a Hindenburg vehicle, German attack on American soil, the use of the rocket to save a plane as well as to rescue the heroine, a masked adventurer, a variation on the theories about Errol Flynn as a secret Nazi spy.

Bill Campbell is the dashing hero who puts on the rocket gear and becomes the Rocketeer. Jennifer Connolly is charming as his girlfriend, an extra in a Warner Brothers Errol Flynn-style movie who is used by the main star, Timothy Dalton, who has some swordfights a bit like those in The Adventures of Robin Hood – and is a suave undercover spy for the Nazis. Paul Sorvino is a gangster, Terry O’ Quinn is Howard Hughes. Alan Arkin has a good role as the inventor alongside the Rocketeer. Tiny Ron, a seven-foot basketballer, plays a villain, with a mask as if he had just stepped out of the sets for Warren Beatty’s Dick Tracy.

The film moves swiftly, is entertaining for younger audiences, but interesting enough for older audiences as well. Joe Johnston began his career working with George Lucas on designs for Star Wars. He directed special effects films like Honey, I Shrunk the Kids, Jumanji, Jurassic Park 3.

1. An entertaining Disney film? Different? A precursor of the action adventures of succeeding years?

2. The 1938 setting? Los Angeles, the airfields, the hangars? The roads and the countryside? The city, the film studios and sets, the lavish restaurants? The atmosphere of the times? Costumes and décor? The rousing musical score?

3. The title, the nickname from the media, an action hero, with the rocket gear, masked? Flying through the air? Saving the plane? Going to the rescue of Jenny? Flying around within the restaurant? The final comeuppance and the villain being destroyed by the rocket?

4. Cliff and Peeby, the plane, their ambitions, the test flight, the gangsters and the pursuit by the FBI, the shooting of the plane, the crash landing, the wheel, the explosion? Having to give up their ambitions? The loss of money, their livelihood? Otis Bigelow and his getting them to perform in clown dress? The discovery of the rocket? The experimentation? The realisation that it could be used? Cliff, his seeing that Malcolm had gone up in the plane, donning the gear, flying up, saving the day, crash landing in the water, Peeby rescuing him, using the rockets to propel the car? The decision to give back the rockets to the FBI? The realisation of the dangers, Jenny, his donning the gear, as the waiter in the restaurant, Jenny and her disdain, his ruining the tape on the film set, the clash with Sinclair? His putting the rocket on, flying around the restaurant, the escape? The confrontation with the FBI? Their thinking him guilty? The shoot-out in the house – with Lothar threatening them? The murders, the danger, the rescues? The Hindenburg? The plane and Howard Hughes coming to the rescue, Howard Hughes happy with the success of the rocket? The happy ending for Cliff and Jenny?

5. Peeby, earnest, helping with the planes, interested in the rocket, getting it fixed? Concerned about Cliff? The murders, in the house, the machine gun? His participation in the final action? A sympathetic offsider?

6. The gangsters, Eddie Valentine, his henchmen, the pursuit? The threats in the bar? The people in the bar resisting? The toughs at the restaurant? The links with Neville Sinclair? The clash between Eddie and Neville? Using Lothar? Lothar and his threats, the machine gun, in the Hindenburg, his going up in flames?

7. Neville Sinclair, the Errol Flynn kind of star, accent, manner, the swordfight, his moodiness, the death of the actor? His overhearing the information from Cliff? His going into action, taking Jenny out, the meal, dancing, flirting, his true colours? The pursuit, holding Jenny to ransom, phone calls? On the Hindenburg – and his taking the rocket, it exploding?

8. Howard Hughes, the plausibility of Hughes and his inventions, with the government, the FBI agents, getting the rocket back, the comparison with the Germans? His coming to the final rescue?

9. The FBI, the agents, trigger-happy, a bit slow? Yet finally in on the confrontation?

10. The background of Germany, Nazism, the film clippings, the newsreels, Hitler? Giving an atmosphere to the adventures?

11. Entertaining heroics, romance, inventions, derring-do?

RONIN

US, 1998, 121 minutes, Colour.
Robert de Niro, Jean Reno, Natascha Mc Elhone, Stellan Skarsgaard, Sean Bean, Skipp Sudduth, Michael Lonsdale, Jonathan Price.
Directed by John Frankenheimer.

Ronin is introduced with information about these Samurai who, after the death of their master, hire themselves out to avenge the lost honour. Who are these warriors today? Ex-intelligence agency operatives who find themselves in a different world in the 90s - except for the Troubles in Ireland which provide the political background for this thriller which was film entirely in Paris, Nice and Arles, using the locations as part of the plot and utilising their natural and tourist attractions.

Robert de Niro, Jean Reno, Stellan Skarsgaad are hired by Natascha Mc Elhone to ambush the possessors of a case. The preparations are shown in detail, but then there is doublecross and double doublecross. There is also a mixture of humanity and brutality that characterises this alien world.
Director John Frankenheimer has been making action thrillers for decades (and is not averse to a French Connection type chase to get the adrenalin pumping). This is an efficient and topical drama that draws its audience into its action while trying to suggest a critique of the politics and hatred that is at the root of it.

1. An interesting crime thriller? Action and chase thriller?

2. The European locations, Paris, Nice, the Riviera? The mountain countryside and the roads, the inner cities? The musical score and its atmosphere?

3. The plausibility of the plot, the IRA and their wanting to buy weapons? Russians in the market? The black market in arms deals? The interest of the CIA? The interest in rogue adventurers? The action, the work together of the team, the violence in the streets, bystanders killed? Assassination attempts?

4. The title, the explanation of the opening, the Samurai who had their masters defeated, who were out of work, roaming the countryside for reputation and work? As applied to Sam, Vincent and the others?

5. The Paris opening, sinister and dark, the steps, Sam and his surveillance, Vincent inside the café, Deirdre and her working there? The other members at the bar? Hagar, Sam entering, seeking the toilet, surveillance? The fact that it was a rendezvous for the IRA?

6. The plan, Deirdre and her taking control, the recruiting of the members of the force, the contact with the man in the wheelchair? The unknown head of the rogue group? The plans, the discussions, Gregor and his computer and his adding to the group? Their interactions, getting to know one another, the need for trust? The lack of information and detail?

7. Sam, the Robert de Niro character, his being a loner, ex-CIA, covering his tracks, speaking of the lessons that he learnt? His being recruited by Deirdre? With the group? The challenge to Spence? The friendship with Vincent? Larry and his cooking, cups of coffee? The team blending together?

8. The arms deal, Vincent getting all the arms, Spence saying he was an expert? The rendezvous near the river, suspicions, Spence going ahead, the deal, not all the arms in the trunk of the car? The light on the sniper on the ridge? The shoot-out? The police pursuit? The gang’s escape? The aftermath with Spence sick, confronted by Sam, Deirdre paying him off and letting him go?

9. Going to Nice, the set-up, the surveillance in the town, the device of Sam and Deirdre with the photos being taken of the group with the case? Checking their bodyguards and security? In the house, the surveillance?

10. The decision to go ahead, the ambush in the town, the traffic lights, the bottling of the car, the shoot-outs, the escapes? The pursuit in the mountains? Back to the city, the massacre, the market? Gregor and his taking the case? The failure of the operation?

11. Gregor, his character, quiet, his guiding the group with the computer and the map during the raid? His taking the case, his contacts and the man in the car, their lack of friendship in the past, each pulling the gun on the other, his shrewdness in moving the car, killing his opponent? The contact with the Russians, going to the ice-skating performance, having the assassin shoot the girl, the threat to the Russian, his not budging? The chase, the confrontation with Vincent and Sam, Vincent shooting him?

12. The deals with the Russians, Seamus O’Rourke? and his meeting with Deirdre in Paris, being in Nice, stopping the pursuit with the car door? His absolute ruthlessness, driving off without Sam and Vincent? His being in disguise at the entertainment, his getting the case, the shootings? His also being shot? His being a rogue leader, disowned by the IRA?

13. The aftermath, Sam and his being wounded, the detail of his operation and his guiding the surgery? Jean-Pierre? and his help? Friendship with Vincent? Finding out where Gregor was in Arles ? Their going to Arles, in the ancient amphitheatre, the pursuit in the amphitheatre?

14. The finale, Deirdre and her leaving? The failure of their cause? Sam and the help that he got from the CIA personnel? His being CIA, his mission to get Seamus O’Rourke? The friendship with Vincent, keep in touch?

15. A portrait of Ronin, the analogy with the Samurai becoming Ronin, the intelligence agencies, individuals for hire? The possibilities for terrorism?

THE RIVER WILD

US, 1994, 111 minutes, Colour.
Meryl Streep, Joseph Mazzello, Stephanie Sawyer, David Strathairn, John C. Reilly, Kevin Bacon, Benjamin Bratt.
Directed by Curtis Hanson.

The River Wild offers a different Meryl Streep. This is an action show, a family trapped by criminals, but not in a house, rather on a spectacular river with white water challenge and danger. The end is not unsurprising but audiences can enjoy the downriver action, the family coping and Meryl winning out – she does most of the rowing and paddling herself (effects and stunt doubles so effective that you think it is all Meryl Streep herself). Kevin Bacon makes a menacing villain, David Strathairn is convincing as the bookish father and Joseph Mazzello (Shadowlands) a credible son.

This is old-fashioned action and suspense in magnificent settings. It was directed by Currtis Hanson who had made an impact with Bad Influence and The Hand That Rocked the Cradle and was to go on to greater success with LA Confidential, Wonder Boys and Eight Mile.

1. An enjoyable action adventure? The traditions of this kind of action, danger, threatened family, criminal pursuit?

2. The locations, the river itself, the rapids? The mountains? The action sequences?

3. The title, the theme, the outdoors, the wilderness, both friendly and menacing?

4. The portrait of the family, the background to the trip, Gail and her work, bringing up their children? The husband, his pressure of work, architecture? The crisis of the marriage? The attempt to heal the differences? The decision to go on the journey? A birthday present? A time for being alone?

5. The preparation for the expedition, Gail and Tom, Tom and his backing out, his work? Going to Colorado, Gail and Roarke going to Gail’s mother, her father (and his deafness)? The preparation for the trip, the detail, the raft, provisions? Tom finally being able to join them?

6. The beginning of the trip, the exhilarating experience? The meeting with the men? The men joining them, the smooth talk, especially from Wade? His leadership?

7. Frank, their guide, his disappearance? Suspicion? Wade and his special relationship with Roarke, helping him, showing up his father? His relationship with Gail, her background as a river guide? The navigation of the river?

8. Tom and Gail and their growing suspicions, wariness about Roarke, listening to Wade and his stories? The attempt to avoid the men and get away? The men and their persistence?

9. Wade and Terry, their background, the robbery? Violence? Their getting rid of Frank? Their taking the family hostage, making Gail guide them down the river?

10. The dangers of the river, it becoming unfriendly, the rapids? Tom’s escape, the dog, his following the raft along the clifftop? Preparing the ambush to save his wife and Roarke?

11. Wade and his confrontation with Tom, his thinking that he had killed him?

12. The ranger, his friendliness, his giving information, his earnestness and trying to help the family? Wade killing him?

13. The danger of the rapids, the adventure, Gail and her skills, Roarke and his support? Tom and the attack?

14. The final fight, the confrontation between Tom and Wade, Gail and her shooting Wade, Terry and his arrest?

15. The happy ending, the effect on the group as a family, on Gail and Tom and their marriage, sharing dangers, the threat to their son, reconciliation and hope for the future?

RUSHMORE

US, 1998, 93 minutes, Colour.
Bill Murray, Olivia Williams, Jason Schwartzman, Seymour Castle, Bryan Cox, Mason Gamble, Sarah Tenaka.
Directed by Wes Anderson.

Rushmore is the name of an exclusive preparatory school with a headmaster named Guggenheim (a museum name), a sad widow whose name is Cross. In the vicinity is a melancholy industrialist who needs to come alive and blossom, whose name is Blume. The central student at Rushmore (before he is expelled and has to enrol in the local high school) is Max Fischer. The British magazine Sight and Sound included with its review of Rushmore a still of Jason Schwartzman as Max with a caption ‘Good Will Hunter’. Max is an off-hand genius like Will Hunting and just as little geared to conformity. But Anderson names Max as Fischer – and that is what he does, casting his net and lines as diversely as possible. And Rushmore? Apart from the suggestion of increased hurrying, more rush, Rushmore is the mountain where the solemn carved faces of American presidents look out and stare, indicating decorum, wisdom and statesmanship. These are not the qualities Max brings to Rushmore.

Acknowledging a debt this time to the reviewer himself in Sight and Sound, I like his phrase to describe the film as ‘an off-kilter’ comedy.

Comedy looks at human foibles rather than the tragic flaw of the hero. It is not necessarily geared to catharsis, unless it is the purging of ill-humour by a good laugh. Rather, the foibles are magnified so that we see them in a brighter and bolder light and can acknowledge both their seriousness and the fact that we need not take them so seriously. After all, every human topic can be the subject of humour. Otherwise, we place the issue on a pedestal that is too exalted and make an idol of it. Admittedly, this can lead to some humour walking a tightrope, a balancing act between legitimate satire and good taste, something that more puritanical and evangelical traditions find it hard to appreciate. When the comedy is off-kilter, when the humour comes from unexpected angles or tangents, then audiences are not sure how to handle it.

Anderson (and his co-writer, actor Owen Wilson) tend to be more gentle in their satire.

Max Fischer is not exactly an Everyman figure. He is the intelligent nerd, dork or whatever the equivalent label is that changes each decade. He is not the gross-out type from, say, the American Pie series. However, he is not above undermining authority – especially Mr Guggenheim. He can be just as immature emotionally in his pursuit of Miss Cross and, while drunk, insult her companion. He can be the leader of the band, including his friend Calloway (callow way?) and the Korean student with whom he ends up, Margaret Yang (to his Ying?). But, there is something more about Max which, if harnessed, could lead to who knows where.

A smart entrepreneur, a clever writer and producer of plays, a sometimes shrewd interpreter of human nature, he is the opposite of the staid respectability of Rushmore. The complexity of the rights and wrongs of his character are best seen in his interactions with Mr Blume: liking him, using him, offending him, supporting him. Max is still ‘fisching’, so to speak, in his quest for his real self and for his direction in life. (Of course, he could make a mess of life and family as Anderson shows with Royal Tennenbaum and his genius but eccentric children or he could become a flawed celebrity like Steve Zissou – which may be what Anderson is telling us.)

After his first film, Bottle Rocket, which had very limited release, some critics were predicting a fresh, new talent. With Rushmore, they began to use the phrase ‘American classic’ and looked forward to his future films. Of course, the opposite approach is helpful: to understand a film in the light of its successors, to appreciate its performances in the light of subsequent roles and interpretations. The Royal Tennenbaums (full of Max Fischer types) illustrated the idiosyncrasies of genius but was also a cautionary tale about the insanity inherent in genius, the unfair psychological pressures of parental neglect and sibling rivalry. The Life Aquatic with Steve Zissou satirised the mad and obsessive quests of genius which can be self-destructive. In the light of these two films, Rushmore is a prelude in which Max could go either way: to achievement or to collapse.

Rushmore can also be appreciated by looking at the careers of Jason Schwartzman and Bill Murray in the years after this film. Casting directors saw the Max potential in Schwartzman and the possibilities of variations. In 2004, he was the ideal subject for the existential detectives to pursue to discover what his real identity was in I Heart Huckabees. He was also the drugged eccentric in Spun and Will Ferrell’s intensely unscrupulous agent in Bewitched.

Whether Rushmore began Bill Murray’s externally impassive, deeply melancholic phase or not, this is what Murray has excelled at – and won awards for. It is not a huge step from Mr Blume and his anxieties and seemingly stoic response to the disillusioned actor of Lost in Translation. Murray was Polonius in the contemporary Hamlet and voiced Garfield. Steve Zissou is another variation, although he has to go into action at times and is not beyond expressions of immature jealousy. However, along with Lost in Translation, his performance in Jim Jarmusch’s Broken Flowers, has become the admirable trademark of Bill Murray in his 50s. A glance, a minimalist shift in an eyebrow-raise can communicate a mood, a reaction, a character.

One of the words that is useful for describing Rushmore is ‘satire’. Anderson, however, is both an off-kilter and more gentle satirist. Satirists can be seen as moralists. This is not always immediately evident. Audiences can be so offended by the techniques and barbs of the satirists that they fail to see that the satirist is so angry with the status quo that the only way to make a point is to lambast, ridicule or spoof. Comedies like The Naked Gun series are easy to take as satires on police work. The jokes and caricatures are funny. When the subject is nuclear war (in the early 1960s in the aftermath of the Missiles of October) and the decisions of the president of the United States, satire can be unnerving or uncomfortable, although Kubrick succeeded with Dr Strangelove.

Wes Anderson is offering a portrait of 1990s America with the touch of satire. Tradition, like Rushmore, can be straitjacketing and, therefore, life threatening. In this context, Max Fischer is the rebel, the genius, the young man who might break the mould, even though he is often gauche in action, and release some creative energy that could make society more flexible, even visionary. Rushmore is easily able to highlight human foibles, mock them and appreciate them – a comedy. Since Max is still an adolescent in age and mentality, Rushmore is something of a pro-temp comedy for Wes Anderson.

1. The quality and status of the film? Critical acclaim?

2. Its use of genres, especially the youth genre, education, family? The eccentric genius and misfit? A piece of Americana?

3. The locations in the school, its appearance, the Ivy League and the comparisons with the high school? Homes, camp? The musical score? The range of songs on the soundtrack?

4. The title, the focus on the school, the indication of themes, reverence and irreverence? What the student could attain and what was unattainable?

5. Max, his age, appearance, brain, personality? His ability to solve mathematical problems? His daydreams? The contrast with reality? What is reality and what is dream? The collage of all the clubs and Max in action?

6. Reality and his scattered interests? His confrontations with the school principal? The issue of the scholarship? Expulsion?

7. His ability and inability to relate to others, to the various members of the staff, with Dirk as his assistant? (And his mother?)

8. Howard Blume and his speech, his background, his ethos? Audience reactions? Max’s reaction? The job offer? The collaboration? Blume’s wife and his sons? The Vietnam experience? The issue of the money for the aquarium?

9. His seeing Rosemary? Work, fascinated, developing a crush on her, talking to her, the friendship, going home, the fish and the discussions about the aquarium? His growing devotion and dedication? Her personality, her story? His escorting her? Her putting an end to his infatuation?

10. Max and his plays, rehearsal and performance, the impact? Max and his relationship with his father, the lies? The barber? The support – the final meeting and the truth?

11. The principal, his antagonism towards Max, Max and his confrontations? His illness? The visits to the hospital? Learning about Herman and Rosemary? The principal expelling Max because of the building of the aquarium, the use of the field? The contrast with the new school and Max and his teachers, support? His relationship with the other students? The Korean girl, a touch of rivalry as well as affection? His being tutored by Rosemary?

12. The on-and-off relationship with Rosemary, out, drinking, insulting her date? Fixing her up with Herman? His growing jealousy? Telling Herman’s wife? Her suing for divorce? Sabotage, malice or not?

13. His reconciliation with Herman, with Rosemary?

14. The interaction between Herman and Rosemary, Bill Murray’s style, delivery of lines, morose, reassessing his life and marriage? Rosemary as a widow, her charming personality?

15. The Vietnam play, the performance, everybody present? Max’s achievement? Max and Margaret and their going together?

16. A phase in Max’s life – the possibilities for his future?

MAN ON FIRE

US, 2004, 146 minutes, Colour.
Denzel Washington, Dakota Fanning, Marc Anthony, Radha Mitchell, Christopher Walken, Giancarlo Giannini, Rachel Ticotin, Mickey Rourke.
Directed by Tony Scott.

In a 2004 interview, Denzel Washington affirmed that, after so many nice-guy roles, he would like to do some villains. He won an Oscar for his nasty turn in Training Day. He was verging on the criminal in Out of Time. Here he gets to be a bit of both, at least a drunken disillusioned government assassin who has to take a heroic stand.

Director Tony Scott worked with him in Crimson Tide. Now he gives him the chance to emerge from the confined world of a submarine to go to a violence-ridden Mexico to become a bodyguard. He is helped to get the job by his long-time associate and pal, Christopher Walken. And the job is to guard an eight year old girl, especially going to and from school because there are gangs involved in abductions as a means of raising quick millions.

Should he take on the job because his charge is the precocious Dakota Fanning who gives the impression that she could well look after herself? In fact, she looks as if she could grow up to be a mixture of Margaret Thatcher and Hilary Clinton. On the other hand, she acts as if she had reached that stage already (and see her or don’t see her in Uptown Girls and The Cat in the Hat). Her parents are played by Marc Anthony and Australian Radha Mitchell.

It is not revealing anything significant in the plot to say that the little girl is abducted. After all, that is what we were expecting. However, the film is almost two and a half hours long and much of the first hour is spent in Denzel first not liking the little girl, not wanting to be her friend but then softening because of her neglectful father, helping her with her work, coaching her and definitely becoming her friend. He now has the motivation to go through the rest of the film tracking down a network of quite ruthless kidnappers (with a twist that those who know these films will expect). With his background as a killer and now off the bottle, he gives the kidnappers far worse a time than they were expecting. He is now on fire. And he has come to like the little girl so much that he is prepared to lay down his life for her.

Which means that this is quite a big-budget, long actioner with feelings that enables Denzel Washington to be both bad and good, his image intact. It is entertaining in its way but lacks some of the fire of its title.

1. An elaborate thriller, action adventure, the Latin American settings, the prevalence of abductions, heroism? Popular ingredients?

2. The Mexican settings, Mexico City, the affluence, the poor, crowded, squalid areas, the police precincts? The home of the abductors? The exteriors, the countryside? Authentic atmosphere? Musical score?

3. The title, John Creasy, his past, the CIA operative, the assassin? His lack of fire, extinguished? His gradually coming alight again? A mission and a sense of purpose?

4. The portrait of Creasy, his assassination work, giving up, drinking? His lacking edge? His going to Rayburn, their friendship, Ray getting him the job? His unwillingness, the interview with Lisa, meeting with Pita? His taking on the job, his antagonism towards Pita, her asking questions, her getting out of the car, having to get her back? Taking her to school? The discussion with the nuns? His not wanting to be her friend? His losing her, finding her again, realisation of his responsibility? Their gradual discussions, coaching her, the swimming? The expectations of her parents? The homework and the bond? The distance from her father? The friendship with her mother, their discussions, the mother’s anxiety?

5. The portrait of the family, the wealthy father and his business deals, the mother and her tension, living in Mexico City, the prevalence of abductions? The interview with Creasy, discussions, trust?

6. The abduction, the motivation for millions of dollars? The abduction ring, the police chief, the role of the other police, shoot-outs? The various contacts and leads? The threats, the phone calls? The violence? The giving of the money, the procedures, the confrontations?

7. The long build-up to the relationship between Pita and Creasy? Audience sympathy towards Pita? Her being a precocious child? Her talents? Able to stand up for herself? Yet her loneliness, childlike, dependence on Creasy? Creasy’s friendship with Pita giving him a new lease of life?

8. Ray, his past life, settling down, family, friendship, the meetings with Creasy? The bonds?

9. Pita, her lifestyle, family, difficulties, at school, the teachers, the sisters? Audience sympathy for her, and for the abduction?

10. The background of the police, the chief in charge, Creasy and the confrontations? His arrest for murder? Charges, the treatment? His following through the leads? The contact with Jordan? His response to the routines? The effect on the parents? Their being distraught?

11. The detailed process of finding Pita, the money, his following the clues, the dangers, the families of the abductors, the names, the phone calls, betrayals?

12. The build-up to the final meeting, the revelation of the father’s involvement, his death?

13. The details of the final exchange, Creasy’s motivation, Lisa’s being present and desperate? Pita alive, the exchange on the bridge? The shooting, Creasy willing to give his life for Pita?

14. Themes of heroism, self-sacrifice, relationships, causes?