W

US, 2008, 128 minutes, Colour.
Josh Brolin, Elizabeth Banks, James Cromwell, Dennis Boutsikaris, Jesse Bradford, Ellen Burstyn, Rob Corddry, Richard Dreyfuss, Scott Glenn, Ioan Gruffudd, Colin Hanks, Toby Jones, Stacy Keach, Bruce Mc Gill, Thandie Newton, Jason Ritter, Marley Shelton, Jeffrey Wright, Noah Wyle.
Directed by Oliver Stone.

Throughout the whole film, audiences will be asking themselves how George W. Bush, with his background and personality actually became president of the United States and was re-elected in 2004 only to end his presidency with his ratings falling to extremely low levels. This film was released the week that Barack Obama was elected as his successor.

For those not particularly interested in George W. Bush or American politics, the film is still continually absorbing as a study of a rather irresponsible and spoilt wealthy young man who cannot hold down a job, is looked down on by his successful father in favour of his younger brother but who is supported by a loving wife, has a born again Christian experience, gives up the drink and becomes ambitious for a variety of motives, including a defiance of his father as well as an attempt to honour his father's memory.

Oliver Stone has explored the American experience in Vietnam and its aftermath in his trilogy, Platoon, Born on the 4th July and Heaven and Earth. He enjoyed fomenting conspiracy theories in his JFK, exploring the personal flaws of Nixon and now takes on both Bushes ( with only a cursory mention of Clinton by Barbara Bush who felt that the Clintons were beneath the Bush family). Richard Dreyfuss, who portrays Vice President Dick Cheney as a reptilian, arrogant eminence grise, said that this film is too empathetic towards George W. Bush. This may be only partly true. There is a certain sympathy for the man and his personal struggles, especially with his father, but the film leaves little doubt that Bush's motivation for invading Iraq was questionable, gung-ho American Manifest Destiny vision, pushing on to Bagdad which he had urged his reluctant father to do, Cheney's desire for empire and oil control in the Middle East with no pulling out of Iraq, a simplistic belief that democracy would instantly flourish in Iraq – let along the false information about weapons of mass destruction.

The core of the film takes place in 2002-2003, the lead up to the war, the invasion, the premature declaration of mission accomplished and the revelations of the inept ambitions of his advisers. While The End comes up on the screen, it was not and still is not the end. Bush's unfinished business is to be handed on to this successor.

There is a succession of flashbacks to Bush's past: his boozy initiation at Yale and the revealing of his strong memory, his job on an oilfield and his throwing in the towel, his father's reprimands and his getting him out of trouble with a pregnant girlfriend. We see his meeting Laura, her influence on him, his running for congress and losing, his drinking and his collapse on one of his regular three mile runs with a subsequent seeking out of a religious adviser and his born again conversion and giving up alcohol. His father invited him to work on his 1988 presidential campaign and he advised his father during the Gulf War. His parents did not approve of his running for governor of Texas – we see him campaigning with the advice of Laura on education despite his inept word choice and faulty grammar. Ironically, he won while his brother, Jeb, lost in Florida (though was elected next time round).

The film takes a lot for granted: the courtship and wedding of W and Laura, most of Bush Sr's presidency, the Florida recount in 2000, even any visuals of 9/11.

George Bush Sr is a strong character who knows politics, can pull strings but who weeps when he finds that his war has not persuaded the American public to re-elect him.

Stanley Weiser (writer of Stone's Wall Street) had a mammoth task in writing a screenplay that assesses recent history before the events have come to their conclusion.

The cast is excellent with Josh Brolin capitalising on his successful performance in No Country for Old Men bringing the younger and the older W to life. There is an enormous pathos in the final scene as he realises that he has been misled and that the job was too much for him – and the question whether he realises this in real life or not. The cabinet personalities are generally well portrayed, especially by Richard Dreyfuss as Cheney and Bruce McGill? as George Tenet of the CIA. Thandie Newton looks exactly like Condoleeza Rice. Scott Glenn as Donald Rumsfeld is not given enough to say (and in real life he was no blushing violet) so that his role is not as clear or as powerful as it actually was. There are fascinating hints at how Karl Rove (Toby Jones) began to control Bush and his thinking and public answers. Ioann Gruyfudd's brief scene as Tony Blair does not adequately illustrate the role that the British Prime Minister played in 'legitimising' the invasion.

It will be interesting to watch W again in five years (and more) when there has been more time and opportunity to evaluate the Bush presidency.

1.The film released on the week of the election of Barack Obama as Bush’s successor? Audience attitudes to Bush, his presidency? In 2008? Later? The film reinforcing views or altering them?

2.The work of Oliver Stone, the American presidency, American history, war? Sympathy for Bush, critique?

3.The title, George Bush as a person, as president, his legacy for the US, for the world?

4.The focus on 2002-2003? The flashbacks to his growing up, his career, the crisis of the Iraq war, the background, the drama?

5.Washington DC, the White House, the Cabinet room? The press room? The contrast with Texas and home? The oilfields? The baseball arenas? Bush as governor and his campaign?

6.The archival footage, of the Bushes, of Congress? John Kerry, Hillary Clinton and their applause for the invasion of Iraq?

7.The archival footage of Iraq, the invasion, the battles, the bombings, the toppling of Saddam Hussein’s statue?

8.The background of the Bush family, their wealth, Texas, their attitudes, the parents and their accomplishment, the two sons, the parents favouring Jeb Bush? George as a disappointment? His father pulling strings for him? His expectations for his son?

9.W. and his father, calling him Poppy? His attitude towards Jeb, the favouritism? His father’s critique of his lifestyle, his drinking, his bailing him out, prison, the shenanigans at college? Pulling strings, Yale and Harvard? The girl, her pregnancy? The father not having confidence in his son? The phone rebukes? Bush’s marriage, his hopes for the basketball job, his not being a commissioner, his decision to run for governor, not getting help from his father (who was supporting Jeb for Florida)? His father asking for his help for the 1988 presidential campaign? His son working for him in 1991, Baghdad issues? Bush senior weeping at the loss of the election? Bush junior becoming president? His attitudes, his father’s assessment of Iraq, the continued pressures? The son disappointed with his treatment by his father yet wanting to vindicate his father?

10.The portrait of George Bush senior: as a businessman, his abilities, political nous, his family, hard, love for Barbara? His office, the rebukes for his son, favouring Jeb and delighting in his success? The 1988 campaign? Becoming president, the Gulf War, the reasons, his decisions? Pulling back from Baghdad? The explanation of his strategies? The loss of the election to Clinton, Barbara Bush’s sneering comment about the Clintons? His retirement? His being in the background during his son’s presidency?

11.Barbara Bush, the matriarch, quick-tempered, her loving her son, being similar to him, her angers, supporting her husband, the sneer at the Clintons? In retirement, her support for Laura Bush?

12.The portrait of W: Junior, the fraternity, the initiation, the booze, the men in the tubs, Bush’s strong memory and getting admiration? His exam results, poor? On the oil rig, too hot, wanting a drink, reprimanded, quitting? The overview of the other jobs that he could not hold down? His wanting to marry Fran, talking to her in the bar? Her pregnancy, his father’s reaction, dealing with it? His drinking, meeting Laura at the barbeque, their talk, marriage, their daughters? The focus on his three-mile runs? On his watching sport on television? His eager eating of sandwiches? His poor grammar and vocabulary? Helping his father in 1988? The television commercial against Dukakis, Willie Horton and the killings? The Gulf War, his attitude towards his father’s decisions, wanting him to go as far as Baghdad? His decision to run for governor, campaigning, the press questions about education, Laura behind him? His drinking, his collapse on his run – and the camera moving towards Heaven? His going to Earle Hudd? Born again, the discussions with Hudd, prayer? His inspiration from God that he should run for president?

13.Laura Bush, attractive, from Texas, at the barbeque, the matchmakers, going out with George, marrying him, the sequences at home, talking, her work as a librarian, education policy, standing by him?

14.2002, post-9/11 (and the absence of visuals of 9/11 in the film)? The presidency, no reference to the disputes in Florida and with Al Gore? His vocabulary, enthusiasm, eating the sandwiches, his advisers, speechwriters, taking the Cabinet on a walk through Texas – and losing the road? His life in the White House? His knowing that he was president and that he had the power?

15.The issues of Iraq, the Cabinet meetings, the attitudes towards the UN, the various countries in the alliance, the varied help, Morocco and its sending monkeys? The scene with Tony Blair – underestimating his role in the decision to invade? The information about the weapons of mass destruction, the writing of the documents for the declaration for the invasion? Bush senior and his not liking the situation? The background of oil and the maps, America’s need for oil? Bush and his belief in democracy springing out? His simplistic views? Ending the meetings with prayer?

16.Dick Cheney, as vice-president, arrogant, his access to Bush, Bush putting him in his place about his ability to relate to people? Plotting the invasion of Iraq, his business interests, the scene with the sandwich and the discussions about one percent threat? Insinuating ideas to Bush, his arguments, oil, empire, the Middle East, not withdrawing from Iraq? Colin Powell and his criticisms of Cheney – and the aftermath?

17.Donald Rumsfeld, his advice and attitudes, his presence in the Cabinet – but the film understating his real-life influence?

18.Condoleezza Rice, Thandie Newton as looking exactly like her, the woman in the Cabinet, her interests in security, her smile, nodding, supporting the president?

19.Paul Wolfowitz, his presence, advice?

20.George Tenet, the head of the CIA, the information about weapons of mass destruction, speculation, false information? The pressures from Dick Cheney? At home, finally agreeing with the Cabinet?

21.Colin Powell, the background in Vietnam, the leadership in the Gulf War, his advice, his critique in Cabinet, his UN speech – his caving in but confronting Cheney?

22.The speechwriters, the information, the orders to insert material and eliminate it? Hearing the speeches spoken? The information about weapons of mass destruction? Unreliable?

23.Karl Rove, working for Bush senior, his advice to Junior, his getting simplistic answers, relying on Bush’s memory? The collusion with Cheney?

24.The build-up to the invasion of Iraq, the exercise of power in the Cabinet, the president and his decisions – and his optimistic and simplistic views?

25.The war, watching it on TV, the Congress applauding the invasion?

26.The newsreel about the plane landing on the ship, Bush and his speech of ‘Mission accomplished’? The ironies?

27.The aftermath, Bush being misled, the lack of preparedness for invasion and occupation? The governor of Iraq, the general – the meetings, Bush rebuking them? The Cabinet members sitting silent? The failure of their judgment, decisions?

28.The final focus of the film, on Bush’s eyes? The motif of his being in the baseball field, trying to catch the ball on the boundary? The finale and there being no ball to catch? The significance of his dream with his father, his father challenging him to fight him? The final focus on his eyes?

29.The overall effect of the film, insight into recent American history, the presidency, equal opportunity for anyone to become president – or the privileged becoming president, capable or not?

EASY VIRTUE

UK, 2008, 97 minutes, Colour.
Jessica Biel, Colin Firth, Kristin Scott Thomas, Ben Barnes, Kris Marshall, Kimberly Nixon, Katherine Parkinson.
Directed by Stephan Elliott.

Many of Noel Coward's comedies seem slight, light and even frivolous. This is true of Easy Virtue, written in 1924 and reflecting aspects of the flapper age and how American verve impacted on stiff upper lip snobbish Britain. It was filmed by Alfred Hitchcock in 1928.

Easy Virtue is reminiscent of Coward's Relative Values, set in the 1950s and filmed in 2000. Jeanne Tripplehorn was the alleged American gold-digger of 'easy virtue' who was judged to have intruded herself into an aristocratic family presided over by Julie Andrews. Her role as the matriarch seems like Mary Poppins compared with Kristin Scott Thomas as Mrs Whittaker, the haughty authority figure whose daughters have imbibed her prejudices and whose husband, a psychological victim of World War 1 fatalities (Colin Firth, who was also in Relative Values), observes the goings on with some detached irony.

The gold-digger is Jessica Biel. She is Larita, a racing car driver who wins but is then disqualified in Monte Carlo. However, she notices John Whittaker (Ben Barnes, who was Prince Caspian) and, in a whirlwind romance, she marries him and goes to his English ancestral home – and feels insulted and stifled. All this is presented with the Coward detached humour and arch one-liners. Australian director, Stephan Elliot (Priscilla, Queen of the Desert) takes a cue from Moulin Rouge and has characters burst into snatches of song as well as having songs in the background. Many are from Coward's repertoire and from Cole Porter, but a number of them are from later times and moods.

Not everyone has an empathy for the wealthy (some about to be impoverished) landocracy of the 1920s and their inward-looking problems. However, there is enough Coward and his talent to amuse. The acting is very good with Jessica Biel both glamorous and convincing, especially when her dark past secret is revealed. Kristin Scott Thomas is adept at this kind of icy and controlling mother. Colin Firth is pleasingly surprising as he brings some deeper humanity to the family and a sympathetic ear to Larita. Kris Marshall obviously enjoys himself as a quizzically-eyed butler.

Pleasant while on screen but not likely to remain in the memory.

1.A Noel Coward play? Of the 20s? British society in the 20s? Americans? Comic, serious, the touches of farce? Class distinctions? Wealth and snobbery? Poverty and pretensions?

2.The adaptation of the play, opening it out on the screen? Re-creation of period? The musical score? The songs, Noel Coward’s songs, Cole Porter’s songs, the modern songs inserted? Giving the film a particular tone?

3.The re-creation of period, Monte Carlo and the car races, the movie news? The real Monte Carlo, the contrast with the UK? The countryside, the mansion, the interiors, the grounds? The hunt? Atmosphere?

4.The introduction to Loreta, Monte Carlo and her racing the cars, winning, her disqualification, the newsreel, her attitude, seeing John, the attraction, the whirlwind romance, marrying him, the plans for England, in love, not telling the truth about her past?

5.The Whitakers: Veronica, her arrogant attitude, haughty manner? Her daughters and their being like their mother? Absorbing her attitudes? Jimmy, his background in the war, his being in the background, the putdowns? His experience, not returning, Veronica going to get him? The expectations of the family about Loreta? Prejudice?

6.The portrait of the staff, Furber and his comic attitudes, comment, drinking, supporting Loreta?

7.Loreta and John’s arrival, the family meeting them, the reactions, cool? The effect on Loreta? John and his love for his wife? Their room, her feeling there was little privacy? Life at the mansion, meals, talk? The concert, the dance – and the can-can? The hunt, Loreta keeping her word, riding the bike? The discussions with Veronica, the clashes? With the daughters, their anger – and Philip’s attentions to her? Sharing with Jimmy, at home with him, talking, his sympathetic listening? The revelation of the truth about the case, her husband, his illness, cancer, assisted dying?

8.Loreta and the staff, in the kitchen, Veronica forbidding her? In the garage, talking to Jimmy?

9.John, young, his love for his wife, his love for his family, having their values? Not defending Loreta as she expected? The hunt? The past with Sarah, his apology, talking things over? The dance?

10.Sarah, her accepting that she would marry John? Her father, brother? Balanced? Pleasant with Loreta? The ending and Loreta bequeathing John to her?

11.Marian, her dreams, Edgar in New York – and his not returning? Her being on the shelf? Hilda, the infatuation with Philip, his ignoring her? Her jealousy of his attentions to Loreta? The can-can, her being ashamed? Not seeing the joke? Supporting her mother?

12.Jimmy, his war history, the effect that he was a survivor and his men didn’t come home, the men from the neighbouring village? His experience of war and death? Ironic attitude, not coming home, with women, drinking, Veronica coming to get him? His look, his defence of Loreta? Talking to her, listening to her, work in the garage? The concert? The meals? His attitude towards Veronica? The tango and his dancing with Loreta? Veronica’s ultimatum?

13.The title, their calling Loreta a woman of easy virtue? The snobbery? The criticism of America, language and manners?

14.Lord Hurst, the traditions of the village, Veronica’s dance, the concert? The selling of the property? Loreta’s advice? The impending poverty?

15.The contrast with UK and US attitudes, the challenge? The prelude to the 1930s and change?

PRIDE AND GLORY

US, 2008, 128 minutes, Colour.
Edward Norton, Colin Farrell, Jon Voight, Noah Emerich, Jennifer Ehle, John Ortiz, Lake Bell.
Directed by Gavin O’ Connor.

New York police stories, especially about family and loyalty and corruption, are not exactly new territory. James Gray showed us a Brooklyn family of cops in We Own the Night. Pride and Glory is familiar but is well done and with a very strong cast.

When four police are killed during a raid to take in a drug dealer, New York's finest are not very happy. Neither are a group of rogue police who are a scandal for the finest. Police patriarch, Frank (Jon Voight in a commanding performance) persuades his younger son, Ray (Edward Norton), who is out of detective work after giving testimony in a cover-up inquiry some years earlier, to head the investigation. Paternal pressure forces him to accept.

And there the complications begin. His older brother, Francis (Noah Emmerich) is in charge of the Washington Heights division and discovers that there is corruption on his watch. Ray's brother-in-law, Jimmy (Colin Farrell) is a genial, football playing family man. However, we soon discover that this is only his surface personality. How will the police handle the case? How will the Internal Affairs officials handle the case? How will the family handle the case? Is loyalty to the police and their reputation to be maintained at all cost? Where does personal integrity lie for Francis? Where does the truth lie for Ray?

While there are pleasing family gatherings and playing with grandchildren, the film is mostly dark in its presentation of ordinary men faced with moral crises. It is very dark in its presentation of Jimmy and his cronies and their getting in too deep in corruption, drug-dealing and violently handling criminals, making themselves even worse. In a scene where Jimmy threatens a baby with an iron to extort the hiding place of the fugitive drug dealer, we gasp at its intensity – and then gasp at the tenderness Colin Farrell shows as he gives the baby back to its terrified mother.

This is also a film of the New York streets and that is where the culmination is played out before the father and sons go to face the inquiry.

1.A familiar story? Striking treatment?

2.New York City, Washington Heights, the Bronx? The police precinct? The world of drug dealing? Criminals? The police, homes, the boat? Authentic and realistic atmosphere? The musical score?

3.The title, the police, integrity, police loyalty, cover-up? Issues of corruption?

4.The introduction to the family, the football match, Jimmy playing, Francis, the news about the deaths of the police?

5.The situation, Francis and his being called, the dead police, the drug dealer and his escape? The impact of police dying? The personal relationships?

6.Frank, the patriarch, his relationship with his wife and children, grandfather? Police ideals? The family gatherings, the meals? His drinking? Playing with the children? Talking to Ray, pressurising him to go back to the investigation? The search for the killer? His assumptions about the police, loyalties, the rules, covering for others? His confronting Ray? The truth about Jimmy? His talking honestly with Francis but pressurising him? Internal Affairs, his sitting in on the interrogations? His final acceptance of Ray’s and Francis’s integrity?

7.Ray, his place in the family, his past career in the police? Talking with Francis about boyish dreams of being police? His testifying, the story, covering up, out of investigation, Missing Persons Bureau? The tensions with his wife, the separation, the visits to her? His living on the boat? The family gatherings? His relating to Francis, to Jimmy? His relationship with his father? His father’s pressure about going on the investigation team? His decision, going to the funeral? Following leads, finding the phone, the information about Sandy and the phone call to the dealer? Francis lying to him? The informer, confronting him, getting the address? The interrogation of the woman? The journalist and Sandy’s suicide in his car, the journalist questioning Ray? Going to the dealer, finding Jimmy, the torture, Jimmy taking Ray’s gun and shooting the dealer? His moral dilemmas? His father’s pressure to cover up? Talking with Francis, seeing Francis’s efficiency in taking charge of the siege? Jimmy, at the pub, fighting him? Arresting him – and the attack on Jimmy and his being beaten to death? Going to the inquiry with his father and with Francis?

8.Francis and the family, the oldest, his situation in the police, leadership, overlooking the deals that police did? His home life, his relationship with his wife, her dying of cancer, getting her ready to go to the dinner? His children? Talking with Ray, lying about Sandy, going to Sandy and confronting him? Dismissing him? The information, his dilemmas? Wanting to have a life, care of his children after his wife’s death? Talking things over with Ray, with his wife, her advice about integrity? The siege, his taking charge? Discussions with his father, not covering up, going to the inquiry?

9.Jimmy, playing football, a family man, his relationship with his wife, children, playing with them? The family meals? The information, Sandy and his associates? Sandy’s death? The visit of the dealer to Jimmy’s home? His violence? The information, asking the woman, threatening the baby with the iron – and his care afterwards? Going to the home of the dealer, taking Ray’s gun, shooting him? His lies during the inquiry? In the pub, Ray confronting him, their fight? The arrest, his death in the streets?

10.The police, the standover corrupt police, robbing the manager of the store, the shooting, the siege in the store, the arrest? Francis and his going in and reasoning with the policeman?

11.The media, the journalists, the links, the interrogations – Sandy, his distress about his situation, his regrets about his life, phoning the dealer, being the indirect cause of the policeman’s death? The journalist, shooting himself in the car?

12.The Internal Affairs, the interrogations, Ray and his refusing to give more information, Jimmy and his lies?

13.An authentic picture of the New York police? Good and bad?

A TOUT DE SUITE (RIGHT NOW)

France, 2004, 95 minutes, Black and white.
Isild le Besco.
Directed by Benoit Jacquot.

A Tout de Suite is a short story about a nineteen-year-old girl. It is based on a novel and is a memoir of an experience in 1975.

Isild le Besco portrays a morose, moody and wilful nineteen-year-old who takes up with a young man in real estate who is, in fact, a bank robber. When he is caught in a siege and a bank and takes four hostages, he telephones her. She is willing to flee with him and they go to Casablanca.

The film shows her blind loyalty to the young man, her fears, her going with him to Greece and her being stranded in Athens. People are kind to her – although there is always a sexual motivation and she makes herself available. Eventually, she calls her parents.

The film is a portrait of a very immature young girl, introspective, uncertain, with the world before her but choosing paths that will lead her to some destructive behaviour. However, it obviously did not since the film is based on a memoir.

The film was directed by Benoit Jacquot who made such diverse films as a biography of the Marquis de Sade as well as a film version of the opera Tosca.

1.The impact of the film? The portrait of this young woman? Her character, behaviour, choices?

2.The black and white photography, the re-creation of Paris, Casablanca and Athens in 1975? The use of archival footage? The musical score?

3.The title – and the pressures on the young woman to make instant decisions? Her ability and her inability?

4.The portrait of the young woman, the waking up with her girlfriend? Her getting people out of the house undetected? The tantrum in the restaurant with the young man? Being picked on by Gerard, his friend, their going to the club, dancing, the return home, the liaison with the young man? His explaining to her that he lived with his parents and was dealing in real estate? Her own life, her relationship with her father, absent mother, sister? Family meals? Her drawing classes and her skill? The phone call, the story about the bank robbery, watching it on television, her going, letting him and the other man come to her house? Her being willing to go with them, Casablanca, trying to survive, her relationship, the moodiness of the other robber?

5.The decision to go to Greece, her wanting to go to an island, her fear on the plane, passport control, his getting through, her being questioned? The two men going off in the taxi, her being stranded? Georges helping her, the room, food, clothing, the meeting with the man needing a babysitter, his taking her shopping, giving her a room, wanting sexual favours, her promise, her nightmares, her leaving? Meeting the girl in the street, the questions, getting the job, moving in? Fear of the police? Outings, learning some Greek, the sexual liaison with the young woman? Her going out on the town, the two young men? Her decision to call her family, their bringing her back to Paris?

6.The aftermath, the trial in absentia? Her own condemnation to five years, on probation? Seeking out the young man’s friends, the meal with the family, his room? Their grief? Her wanting to move away, get a job, going to an island and standing in other people’s shoes and welcoming guests…? Her departure?

7.The portrait, her character, immaturity, the effect of the experiences, her hopes for the future?

THE STEPFORD WIVES

US, 2004, 94 minutes, Colour.
Nicole Kidman, Matthew Broderick, Glenn Close, Bette Midler, Christopher Walken, Roger Bart, David Marshall Grant, Jon Lovitz, Faith Hill.
Directed by Frank Oz.

In 1975, Bryan Forbes made a version of Ira Levin’s novel, a blend of women’s magazine pages and a horror film. Levin had already written of diabolical incarnations (Rosemary’s Baby) and the cloning of Hitlers by Josef Mengele (The Boys from Brazil). Stepford was the ideal, American picture-perfect town, with picture perfect wives who had been transformed into robots to be the perfectly domesticated women and wives any fat-cat chauvinistic American male could want. This was ironic feminism in William Goldman’s screenplay although some of the feminists took a fundamentalist, uncritically literal, interpretation of the film and missed its satire.

At the beginning of the 21st century, you can’t do an exact remake. Feminism has moved on. Men are becoming more sensitive – but not to the extent that another version of The Stepford Wives would not go amiss. But, it is too late for horror surprises. And, after all, we live in a post-modern and flip one-liner world. Why not go for the comic elements, stay with the satire? And have Paul Rudnick write it? He is a master of camp humour with Jeffrey and In and Out. And have Frank Oz direct it? He was the voice of Miss Piggy so he knows more than a thing or two about pretentious putting on the glamour and he has directed many comedies (Dirty Rotten Scoundrels, Housesitter). And that is exactly what has been done – to the ire of those who don’t think it should be funny and of those who think it isn’t funny enough.

There are certainly a lot of funny things in it. The opening television awards with the parody of the reality shows and the dollar signs in the executives eyes set a satiric tone. When the sacked executive (Nicole Kidman, who does not have to be a real Stepford wife until the end of the film) and Matthew Broderick (definitely open to the possibility of robotising the wives) arrive in Stepford, they are greeted by town hostess, Glenn Close in a nicely-judged, almost over the top performance that deserves some kind of award. Who else should be there (but not Stepfordised and therefore able to make wisecracks) but Bette Midler in a welcome return to the screen? The sinister presence, all smiles and charm, is Christopher Walken. They have changed the ending a bit so that contemporary feminists may be momentarily wondering whether anything has changed!

1.The impact of the original film, the mid-70s, the writings of Ira Levin? The relationship between women and men in the 70s? The role of feminism? The blend of satire and horror?

2.The remake, necessary or not? For the 21st century audience, post-modern? The role of feminism at the beginning of the 21st century?

3.The option to go for satire, parody and spoof? Women and their reaction? Post-feminism? The issues of gay men? The jokey atmosphere?

4.The points made about relationships, women and their position in the workplace, the dominance of men, dominance of women? Wives and husbands in careers, in the household, the place of children? The possibilities of the nuclear family? Job equality? Men wanting women as stereotypes? Women and their control of their destiny? Macho selfishness, having the power to achieve their Stepford world? The irony of Claire Wellington and her being a neurosurgeon and her being behind the whole of Stepford – wanting to be a lady, controlling the men? The final images of the men doing the supermarket shopping and being controlled by the women?

5.The opening, Joanna and her television job, the elaborate show, the response of the audience, TV world, executives, programming, TV-speak and celebrity? The programming, the spoof on reality shows, the parody, the viewing of the marriage break-up on the reality show, the new husband and wife, her choices, the ordinary housewife and the possibility of being with musclemen? The husband, the gun, the threats in the theatre? The effect on Joanna?

6.The aftermath, her being sacked, her having to take it, the reptilian smile of the executive? The talking of the good of the network? Her dignified farewell, forced smile, goodbye to the staff, screaming in the elevator?

7.Her return to her family, her breakdown? Her relationship with Walter, their life in the city, driving to Stepford, taking the children, hopes for a new life?

8.The initial appearance of Stepford, everything beautiful and neat? Claire Wellington and the welcome, the real estate agent, her appearance, manner, way of speaking? The house and the description? The world of Stepford, the wives, their clothes, glamour, the décor of the houses? Their interests, the women’s clubs, the talking about women’s books? Recipes? Subservient to their husbands? The initial impression of the wives – on Joanna and Walter?

9.The family settling into the house, the children going to school, Joanna and her wariness of the way the women acted?

10.The men’s club, Walter, Bobbie’s husband, Mike and the others? The complete macho club, smoking and drinking, macho talk? The control of their wives? The irony of the square dance, the wife and her electric cistern, smoking, repetitive action, the impact on Joanna?

11.Bobbie, as a type, the Jewish writer, her house in disarray, her relationship with her husband, the advice to Joanna? Their going into the men’s club, running away? Her suddenly being transformed, the humour of her ultra-neat house?

12.Claire Wellington, her control, the socials? Her relationship with Mike? Mike as genial, head of the men’s club, the invitations to Walter? His seeming to be in charge of the mechanisms and the wiring of the women?

13.Roger, Jerry, the gay couple? Roger as the screaming queen, his camp behaviour, with the girls? The contrast with Jerry and his being a member of the men’s club? The sudden transformation of Roger, his suit, standing as a Republican candidate?

14.Joanna and the clash with Walter? The possibility of the marriage break-up? Her going to the club, the search, her discovery of the truth? The photos of all the women and their professional expertise in the past? The challenge to Walter, in the men’s club, the men and the pressure on Walter to transform his wife? Their leaving to go to the laboratory?

15.Joanna as a Stepford wife, Walter and his attitude towards her? At the celebration, the confrontation, Joanna not being transformed? Going to the laboratory, Walter and his disarming the functions of the wives? The women becoming normal again? Mike, the confrontation, Joanna hitting him, headless – and his being a robot? Claire and the revelation that she had controlled everything, neurosurgeon, Mike as the perfect husband, her wanting to be a lady, dictating the manners of Stepford? Her being electrocuted?

16.The transformation of the women back to their normal selves – and the humour of the men in the supermarket?

17.The range of jokes, camp style? The parody of traditional wives as glamorous? The parody of the macho men? How effective a satire at the beginning of the 21st century?

WILLY WONKA AND THE CHOCOLATE FACTORY

US, 1971, 100 minutes, Colour.
Gene Wilder, Jack Albertson, Peter Ostrum, Roy Kinnear.
Directed by Mel Stuart.

Willy Wonka and the Chocolate Factory is based on the children’s novel by Roald Dahl. Dahl himself adapted his story for the screen and wrote the screenplay. Audiences can now make comparison’s with Tim Burton’s Charlie and the Chocolate Factory – and estimate how faithful it is to Dahl’s story as well as comparing it with Dahl’s own version.

The film is a modest production but done with great verve. Gene Wilder is a cheerful Willy Wonka – although a touch authoritarian in his treatment of the bad children. He is not ambiguously eccentric as the performance of Johnny Depp as Willy Wonka. Jack Albertson, who had won an Oscar for best supporting actor for The Subject Was Roses in 1968, is a genial Grandpa Joe. Peter Ostrum is Charlie. This was the only film he made (and after retiring from the screen and studying he became a vet). Roy Kinnear leads a cast from both the United Kingdom and the United States. Tim Brooke-Taylor? as an uncredited cameo appearance as a computer expert.

The film is set in the United States. However, voices are mixed with accents from both sides of the Atlantic interchangeable. The film also creates an eccentric town, especially where the Bucket family live in poverty with the two sets of grandparents perpetually in bed, the family hungry and depending on Charlie’s paper round. By contrast, the Wonka factory is lavish, with bright and colourful sets, inventive technology. The Oompah Loompahs also appear – and sing their song.

The film traces the story of children trying to find the five golden tickets for the tour of the Wonka factory. The children who find the tickets are obnoxious – but, with their obnoxious parents, get their comeuppance during the tour. They contrast with Charlie and Grandpa Joe – which means that Charlie is given the ownership of the factory at the end.

The film has a musical score by Anthony Newley and Leslie Bricusse (Dr Doolittle, Stop the World, I Want to Get Off, The Roar of the Greasepaint, the Smell of the Crowd). There are some favourites, especially ‘The Candy Man’.

Direction is by Mel Stuart. Stuart had begun to direct films in the early 1960s and worked especially in television. Around this time he made a number of small-budget films including If It’s Tuesday, This Must Be Belgium, I Love My Wife and One is a Lonely Number. He continued working in television into the early years of the 21st century.

Other films from Roald Dahl books include The Witches and Matilda.

1. An entertaining film for children? For the family? The blend of realism – and the exuberance of fantasy?

2. Roald Dahl, his books, his reputation, delight in fantasy, the dark side implied in the stories? His being on the side of the children – good children – and critical of adults?

3. The town, the blend of the British and the American? Its appearance, the small town? The Bucket family house and its poverty? The dinginess of the town? The contrast with the international search for the golden tickets and the glimpses of Germany and other parts of the United States?

4. The contrast with the Willy Wonka factory, the big iron gate, the outside appearances? Inside, the various corridors, large and small, narrowing? The various locations for the making of the sweets – and the elaborate technology, colourful? The special effects? The world of the Oompah Loompah’s? The stunt work, especially for the children, disappearing, changing colour, floating in the air?

5. The musical score, the range of songs, ‘The Candy Man’, ‘Cheer Up, Charlie’, the songs of the various children? And the popular song of ‘Possibilities’ sung by Willy Wonka? Its being the background theme of the film?

6. Charlie, a nice boy, with his friends, at school, the eccentric teachers and percentages? The sweets, the Wonka factory? The mystery about the factory?

7. The announcement of the competition, the golden tickets? The worldwide frenzy? The media and the commentary? The fat boy in Germany and his parents? The demanding English girl? The selfish American girl and her pushing around her parents? The boy with the gun and the attitude of the west? The fraud in Paraguay? The contrast with Charlie? The visualising of the search, people auctioning the chocolate bars? The worry about Mr Salt and his employing staff so that Veruca would be pleased?

8. Charlie, the comfort of his mother and her song? His bond with his grandparents? His resignation? His paper round? The finish of the competition – and his listening to the family talking about his disappointment? His finding the money, buying the bars, the second bar after devouring the first? For Grandpa Joe? Getting the ticket?

9. The sinister presence of Mr Slugworth, talking to all the children? His bribe to Charlie to give information so that he would not go out of business? The pleasant irony that it was revealed that he was actually working for Willy Wonka and that Charlie passed the test?

10. The build-up the tour, Willy Wonka emerging and somersaulting from the factory? The press and the crowds? The children going in? The glimpse of the children: Veruca and her wanting everything immediately, Violet and her pushing everybody around, Mike Teevee and his evocative name, watching his programs, with his gun?

11. The presentation of the parents, Veruca’s father and his being dominated by his daughter, wanting to get her everything, for peace and quiet? Mr Beauregard and his selling of cars and the American car salesman style? Mrs Teevee and her protectiveness of her son? Mrs Gloop and her urging her boy not to eat too much? The contrast between Mrs Bucket, Grandpa Joe and the other grandparents with Charlie?

12. The corridor, the signing of the contracts? Augustus and his disobeying the rules, falling into the chocolate? His disappearance after being stuck in the pipe? His mother going after him? Violet and her continued demands, eating what she was told not to, tasting all the meal, going blue like the blueberries and inflating, her father concerned about her? Veruca and her falling into the garbage pit, her father trying to save her? Mike, the camera, being transferred by camera – the demonstration with the chocolates, his demands, his going into the television set and his mother’s concern? Charlie and Grandpa Joe and their drinking the drink, their floating in the air, burping to get down – and Willy Wonka holding this against them at the end?

13. The Oompah Loompahs, Willy Wonka’s story about rescuing them, their working in the factory, rolling out all the children? Their song? “

14. The finale, Willy Wonka assuring Charlie and Grandpa Joe that the children would not be harmed but had to learn their lesson? His severity in comments about them? His quoting Shakespeare and other classics? His being stern with Charlie – and Grandpa Joe urging Charlie to go back, his being happy, the revelation of Mr Slugworth? Giving the whole factory to Charlie?

15. The musical score, the songs, their insertion into the film?

16. A cheerful fantasy – with some moralising about parents’ attitudes, about adults, and about badly-behaved children?

BLACK CHRISTMAS

US, 2006, 84 minutes, Colour.
Katie Cassidy, Michelle Trachtenberg, Kristen Cloke, Crystal Lowe, Mary Elizabeth Winstead, Oliver Hudson, Andrea Martin.
Directed by Glenn Morgan.

Black Christmas was originally a horror thriller of 1974, directed by Bob Clark who made a range of films from the Porky series to serious films like Tribute and Murder by Decree. He acts as an executive producer of this remake, more than thirty years on.

It is a routine adaptation of the rather sensationalist original. But, there has been a proliferation of this kind of film since those days and this one is fairly routine. A group of sorority students are in peril on Christmas Eve and are gradually dispatched. Audiences learn early in the piece who is responsible so there is no mystery. In fact, there are a series of flashbacks visualising the crisis in the home that has later become the sorority house. A bizarre and cruel mother has been responsible for the repression of her son who killed her and eventually escapes from a mental institution.

Glen Morgan directed the remake of another 70s thriller, Willard, and was a writer of such films as Final Destination 3. His wife, Kristen Cloke, appears as the sister of one of the victims and the male lead, a rather unsympathetic ladies’ man, is played by Goldie Hawn’s son, Oliver Hudson.

Yo Ho Horror!

1. A slasher film? Routine? The Christmas context? The victims in peril? The mad killers?

2. The Christmas settings, winter, snow, Christmas Eve? The action taking place over the one night? The insertion of the flashbacks filling out the background? The sorority house, the house in the past, the institution? The atmospheric score? The use of Christmas songs? Of the Nutcracker Suite?

3. The title and its irony? The role of Santa Claus? Christmas decorations? Gifts?

4. The focus on the young women, Kelli and her relationship with Kyle? Going into the house and her sense of sisterhood? The fact that she was the survivor? Her behaviour, attitudes? The other girls? Interchangeable? The various killings? The pursuit throughout the house? The girl trying to fix the lights? The visiting girl? Their personalities? Interactions? In their rooms, with Mrs Mac? The gifts, the discussions? The phone calls, the mobile phones and the messages? The build-up of terror? Mrs Mac and the girl in the car, death, Mrs Mac and the irony of her killed by the ice? The hospital, Kelli, Lee and her survival? Her being murdered? Kelli pursued, saved?

5. Mrs Mac, the sorority, her stories about the house? The irony of the gift for William Lenz and the memory of the killings? Her good humour, fears, with the girls?

6. Kyle, with Kelli, with the other girls, the video? His return to the house? Suspicions? His helping, finally being killed?

7. The background story of the Lenz family? The characters filling in the details? Lenz in prison, the Santa Claus gifts, his escape? The story of his sister? The mother, her disdain of William, the yellow baby, his father caring for him? The time passing, the mother and her drinking, the gift from the father? His being killed by the mother and her lover? William and his being confined to the attic? His growing up there, isolation? His mother and the sexual encounter? His growing up, the birth of his sister, her being odd, playing with the dolls? His murdering his mother, the lover? The cannibalism? The Christmas gifts? The police arresting him?

8. The killings, William and his sister? Agnes and her size, appearance? The final appearance in the hospital? Her death?

9. The popular ingredients of the slasher movie? Peril? Madness? The gradual elimination of the characters? This film as better than others or average?

THE THIRTEENTH WARRIOR

US, 1999, 110 minutes, Colour.
Antonio Banderas, Diane Venora, Dennis Storhoi, Vladimir Kulich, Omar Sharif, Richard Bremmer.
Directed by John Mc Tiernan.

The Thirteenth Warrior is based on a Michael Crichton story, The Eaters of the Dead, which in turn has its origins in the Nordic legend of Beowulf. The film seems to have been intended as an exploration into the history of the Dark Ages. However, with difficulties in production (although Mc Tiernan and Creighton were two of the producers), the film ends up as something of a matinee adventure. It is not always clear what is going on – and not always interesting.

Antonio Banderas was at a high in Hollywood at this time and appeared in many films, continuing to be a great success, even with animation characters like Puss in Boots in Shrek 2. The film has a Nordic cast although there is a place for Omar Sharif.

John Mc Tiernan began films in a small-budge way with Nomads, moved to Die Hard and made quite a number of action adventures including The Last Action Hero. He also made several romantic films including, at this time, The Thomas Crown Affair.

1. The interest of the film, the legends, the Dark Ages, east and west? Action? Adventure?

2. The locations, Tartary, the Vikings in Asia, the settlements? The return to the north? The world of the thirteen warriors? The pre-Mediaeval settlements? The man-eaters? The special effects? The battles? The musical score?

3. The title, the thirteen warriors, the explanation of the prophetess? Their being Norsemen – but one was to be from elsewhere, the Arab poet being included? Their mission, their battles, their deaths?

4. 922AD, the role of Ahmed Ibn Fahdlan, his being a poet, ambassador sent by the Khalif? The visit to Tartary, the encounter with the Vikings? Buliwyf as the chieftain? His lieutenant, Herger the Joyous? The information from the north, the attack on the settlement, monstrous creatures? The prophetess, the role of the thirteen warriors, Ibn Fahdlan and his being made one of the warriors?

5. The way of life at the settlement, civilisation in the tenth century, poetry, culture? The contrast with the primitive aspects of life, the monstrous attacks?

6. The settlement under siege, its isolation? The ruler, Hrothgar? The attacks, the man-eating monsters? Herger and the battle, Wigliff and his betrayal of his father, Hrothgar? The battles, Ibn Fahdlan and his success, the respect of the warriors?

7. The attack and the enemy manifesting itself, the tribe, the Wendol, only men, their wearing bearskins? The survivors of the attack, the trekking through the snow, the finding of the cave?

8. Buliwyf and his attack, the queen, the mother of the Wendol, her death?

9. The revenge fight, Buliwyf and the duel with the Wendol chief, the chief’s death, Buliwyf’s own death? The Wendol and their retreating after the death of the chieftain? The end of the threat?

10. Ibn Fahdlan, his not staying in the village, his returning home, his intention to write of these epic adventures?

TUDAWALI

Australia, 1987, 87 minutes, Colour.
Ernie Dingo, Peter Fisher, Charles ‘Bud’ Tingwell, Bill Mc Closky, Frank Wilson, Colin Mc Ewan.
Directed by Steve Joddrell.

Tudawali is an impressive film debut for director Steve Joddrell. He then went on to make Shame. Unfortunately, his career was spent in making television movies and television series, including many Halifax episodes as well as Sea change, but not moving into feature films.

This film was written by Alan Seymour, playwright and television writer for many decades, best known for his play on Anzac Day, The One Day of the Year.

The film focuses on Robert Wilson, the Tiwi Aboriginal who starred in Charles Chauvel’s film Jedda. The structure of the film moves in different time frames. During the credits we see the long journey that the young Robert took from Melville Island to Darwin. We see him being used for the demonstrations at Wave Hill in 1967. We see him being auditioned by the Chauvels, performing in Jedda, at press conferences, his subsequent career in film and television. We also see the breakdown of his marriage, his drinking, his being put in prison and being under government supervision.

The film also highlights his friendship with journalist Harry Wilkins, played sympathetically by Peter Fisher. The film shows the possible friendship between black and white, showing the experience of prejudice, especially in pubs. Bud Tingwell is the local doctor, Bill Mc Closky the local government supervisor. They both have their influence on Robert and on his wife.

The film ends with Harry Wilkins visiting Robert in hospital in Darwin after he has had a drunken accident (or perhaps was pushed because of union concern and the ownership of mines and property in the Northern Territory) and he dies in Darwin Hospital.

Ernie Dingo himself is a film and television icon and gives a powerful performance as Robert Tudawali. Frank Wilson is a sympathetic Charles Chauvel and the film includes re-enactment of the scenes of Jedda but significant scenes from the actual film.

1. Audience knowledge of Robert Tudawali, his career, his performance in Jedda, his performance in screen and television work?

2. The film giving information about his origins, his background? Insight into his character, social situation, acting talent, career? His drinking, battles with his family? Australian attitudes towards Aborigines in the 1960s? Subsequently?

3. The structure of the film, Wave Hill, the fight, Robert’s injuries in the fire, Harry’s visit and his own television work? Charles Chauvel and his searching for talent, auditioning Robert? The filming of Jedda? The press conferences? Harry and his going north to the hospital in 1967, the flashbacks to the press conference, the initial friendship with Harry, sharing with him on the beach, at the studio, their discussions? The friendship with Harry over the years? Robert and the subsequent years to Jedda? Film and television? In Darwin? The unions and Aboriginal rights groups looking for him as a figurehead? His death? The final outburst against Harry?

4. The Northern Territory locations, during the credits and the water from Melville Island to Darwin? Wave Hill, the Northern Territory landscapes, the Aboriginal camps and the Aborigines in their ordinary way of life in the background? The locations for Jedda? Sydney, the sets, the beaches? Darwin and the hospital? The use of colour, giving the tones of material filmed in the 1950s and 1960s? The musical score?

5. Robert Tudawali as a symbol for Aborigines in the 1950s? His Tiwi background, Melville Island, sailing as a boy, his family, the extended family, in Darwin, marrying Peggy, her illness, the birth of the baby, his tender care for the baby? His being chosen by the Chauvels? His ability in acting, his liking it? His being feted? Handling press conferences? Personal friendships? The drinking tradition? His friendship with the doctor, the doctor trying to help, give advice? The government official, his clashes with Robert, looking down on him? Warning him about prison? The courts, imprisonment? His being sought as a symbol for Aborigines who had achieved? The violence, his death? His final angry outburst?

6. Ernie Dingo as an Australian film and television icon? His ability in being Robert Tudawali, the impersonation, re-enacting scenes from Jedda? The scenes with Peggy, her clashes, her not wanting the success in film? Her illness? The first meeting with the Chauvels, his being genial, the friends laughing, the screen test? The Chauvels’ approval? The making of the film, the meeting with Rose Kunoth (and Peggy’s jealousy)? The completion of the film, the press conference in Sydney, his handling of the journalist with wit? The premiere, Chauvel thinking he was not there, his sitting with the family and friends? The inclusion of real sequences from the film? His wider family, the clashes? His wanting to act, Dust in the Sun, being in Whiplash? The limited number of jobs? The return to Darwin, going to jail? Peggy and her being accosted by the white landowner, her having the baby? His not working, the Aboriginal rights groups and their discussions with him, Harry wanting him to participate in the TV documentary? His death? A significant figure – the film twenty years after his death?

7. The portrait of the Chauvels, their career, old-school types, pioneers in the industry, choosing Robert, the test, Chauvel directing, the intensity of the performance? The filming, the premiere, Tudawali in the stalls? Chauvel and the explanation of what was happening to Robert’s money, his using it for his extended family, for the bike? The gift of the tie to Chauvel, Chauvel giving him his watch? The later visit when the money had run out? Chauvel’s death, Robert going to the grave, the final talk with Elsa Chauvel?

8. The character of the doctor, his presence, understanding, help?

9. Social Service, thinking that Robert was cheeky, in jail? The discussion later with Harry, the story of the Aboriginal with the genie – and the wish to be a star and be like Clark Gable, the wish to not work all day and his becoming an Aborigine again?

10. The glimpses of administration of the Northern Territory, government, courts?

11. The prejudice against Aborigines, the sequences in the bar, Harry and Robert’s reactions, the New Australian offering him a drink?

12. The character of Harry, seeing him at the end, the documentary, the producer criticising his stances? The past, the press conference, meeting in the toilet and the discussions, on the beach, their walks, on-set? Harry being given the long speeches criticising Australian attitudes – and Robert laughing at his seriousness? At the end, the TV interview, going to the hospital, the sister’s hostile reaction, her later apology? Robert wanting a story? Harry promising to help his daughter, Robert’s final outburst as an angry outburst against whites and their oppression? Harry wanting to do something?

13. The significance of the speeches about Australia and prejudice?

14. The status of Aborigines in the 1950s and 1960s, one hundred and fifty years after the white settlement? Australian society, changes, lack of change?

15. The Australian film industry, the significant role of Jedda and the Chauvels? The first Australian film in colour? Australians not responding to Aboriginal themes? The perspectives of playwright Alan Seymour and his tradition, especially The One Day of the Year?

TREMORS 2: AFTERSHOCKS

US, 1996, 100 minutes, Colour.
Fred Ward, Christopher Garton, Helen Shaver, Michael Grose.
Directed by S.S. Wilson.

Tremors was a very popular thriller at the beginning of the 1990s. It combined all the creature shock with some humour and irony. It also made comments on the environment and industry.

The sequel is more in the comic schlock-horror vein, directed by its co-writer S.S. Wilson and executive produced by the director of the original film, Ron Underwood. There are difficulties with creatures under the ground again, disturbing an oilfield in Mexico and killing the workers. The creature has no eyes but responds to sound. The hero of the first film, Fred Ward, is called in and is assisted by an over-enthusiastic young fan, Christopher Garton. Helen Shaver is at the oilfield if for no other reason than to provide a love interest. Michael Grose is an eccentric creature hunter.

The dialogue is more corny than funny, the situations are fairly predictable – and Fred Ward hams it up excessively.

Christopher Garton. Helen Shaver is at the oilfield if for no other reason than to provide a love interest. Michael Grose is an eccentric creature hunter.

The dialogue is more corny than funny, the situations are fairly predictable – and Fred Ward hams it up excessively.

1. The popularity of the original film? The enjoyment of a sequel? Better or not?

2. The Mexican settings, the oilfields, the open spaces? Earl Bassett’s caravan and home? The outdoors? The musical score, especially for atmospherics?

3. The creatures, the tremors, burrowing under the earth, pursuing the victims? The visuals of their appearance, devouring humans? The mutant baby creatures? The special effects, the confrontations with the creatures?

4. Mexico, the difficulties of the oilfield, shutting down, the Mexican authorities, asking Earl Bassett to come? On-site in Mexico, some of them being killed?

5. Earl Bassett, his reluctance to go, not making any money out of the first adventure, people commenting on the video rights and the games…? Grady and his trying to persuade him to go? Their travelling together, the computer equipment, tracking the creatures, the toy cars and the explosions? The prospect of the money? The dangers, the adventures, the threats? Burt and his eccentricities? Kate and the irony of her being the Playboy Playmate of 1974, the picture in Earl’s trailer and the symbol of the unattainable? The romance? The shared dangers, the explosions, destroying all the creatures?

6. Grady, young, enthusiastic, the fan, persuading Earl to go, sharing the adventures, mistakes, the exhilaration of destroying the creatures? The dangers? The final confrontations?

7. Kate, on hand to work, the love interest, the bond with Earl?

8. Burt, the phone call, his coming, driving his truck, the danger from the creatures, making mistakes?

9. The action adventure aspects, the comic adventures? A by-the-book sequel?