TROY

US, 2004, 166 minutes, Colour.
Brad Pitt, Eric Bana, Bryan Cox, Peter O’ Toole, Brendan Gleeson, Diane Kruger, Saffron Burrowes, Rose Byrne, Julian Glover, John Shrapnel, Nigel Terry.
Directed by Wolfgang Petersen.

Had Gladiator not been such a critical and box-office success, I wonder would backers have financed Troy. It is not fair to make too much of comparisons, but it does throw light on how Troy works (or does not work) and in trying to gauge its strengths and weaknesses. Russell Crowe brought a serious demeanour and physical strength to his role as general and gladiator, voicing his lines with sonorous voice and diction. Richard Harris brought wisdom and dignity to his Marcus Aurelius. The plot of military battles, betrayal and the struggles of the gladiator slaves symbolizing the fall of the Roman Empire contained great substance. There was a gravitas about the whole film.

Troy does not have quite the same gravitas despite its origins in Homer’s Iliad. In fact, the plot is rather simple: the wife of a warlord flees with a lover which leads to an invasion and siege which ends in catastrophe for the Trojans and empire for the ambitious Greeks - and all compressed into a far shorter period than the long siege of Troy.

The special effects are, of course, very impressive: the thousand ships, the military might, the battles, the destruction of Troy.

The plot, however, centres on Achilles, a maverick warrior, who irritates king Agamemnon no end but who is drawn into the war when Hector kills his cousin in battle thinking that it was Achilles himself. Achilles, despite being portrayed by Brad Pitt, seems too sullen and surly to be a classical hero, without classical diction - to engage audience sympathies. In terms of sympathy, the Trojans win it all. Eric Bana is a decently heroic Hector. Peter O’Toole’s? Priam is a magnificent presence, the actor who does bring some gravitas to the film. Orlando Bloom who looks too young and slight as the wilful Paris eventually finds some courage. The Trojan women, Rose Byrne and Saffron Burrows (even Diane Kruger’s Helen) elicit our concern.

The Greeks, on the other hand, come across as a vicious and power hungry lot, especially the bluff Brendan Gleeson as Menelaus who wants to avenge his humiliation by the absconding Helen and his cruel brother and leader of the invasion, Agamemnon, effectively played by Brian Cox. It is only Sean Bean’s wily Odysseus (whose idea it was to build the wooden horse) who makes the Greeks interesting to watch. (And, despite the screenplay’s frequent reference to Achilles’ wanting to be remembered in history, it is Odysseus/Ulysses who is the best remembered of those who fought the Trojan War.)

There has been a long tradition of mighty, expensive historical spectaculars. Troy takes its place - but does not stand out.

1. Audience knowledge of and interest in the events of the Trojan War? The theme of who would be remembered for millennia? Achilles, Hector, Odysseus? The film drawing its story from the Iliad and the Aenead? The characters, the events? The wooden horse?

2. The big budget, the re-creation of the era, Sparta, Troy, the ocean? The computer graphics and special effects, the spectacle?

3. The internationality of the cast?

4. The re-creation of battles, the courts of the kings of Greece and Troy, the fleets on the sea, the city of Troy, the interiors, the beachfront? The musical score, the final song?

5. Who was the focus of the story, the characterisations? Where did audience sympathies lie? The Greeks, Achilles? Troy, Hector, Paris? Priam? The focus on Helen of Troy herself?

6. The information about the history of the Greeks, the history of the Trojans? Wars, Agamemnon and the campaign against Thessaly? His wanting to expand his empire? Power struggles, the possibility of treaties and peace?

7. The opening with the battle against Thessaly, Agamemnon and his leadership, wanting his hero to come forward, Achilles and his dallying with the women? His quick riding to the battle scene? The King of Thessaly and his champion, a Goliath type? The challenge, the boasts, the response of the armies? Achilles, his run, his leap, his stabbing the giant in the neck? The King of Thessaly submitting to Agamemnon?

8. The transition to Sparta, its look, the port, the cliffs? The celebration of peace? Hector and Paris at the dinner? Agamemnon and Menelaus? Helen and her going upstairs, Paris following her? Their relationship, the week of dalliance? The decision to leave Menelaus and Sparta? Paris and his telling Hector, Hector’s dilemma, on the ship, wanting to return, his being persuaded to go on to Troy?

9. Menelaus, his character, bluff, a brother to Agamemnon? His reaction? His motivations, humiliation? The alliance with Agamemnon, the decision to go to war? Menelaus’ character, his vaunting and shouting against Helen, his death?

10. The strength of Agamemnon, power of character? The invasion of Thessaly, his ambitions? Wanting the war against Troy? His dislike of Achilles and not understanding him? The invasion on the beach, Achilles and his leading the troops, the initial attack, Achilles and his victory? The decision to stop the attack? Agamemnon, impulsive, wanting the army to go forward? Agamemnon and his arguments with Achilles, the discussions? His discussions about Achilles and knowing that he needed him for victory? Odysseus and his being an intermediary? His advice to Agamemnon? His wiliness, the invention of the wooden horse? Agamemnon and his final victory, the massacre of the Trojans? His death (unreal - and the classic plays of his returning and being destroyed by his own family)?

11. Achilles, Brad Pitt, his screen presence, diction and presentation as a hero? His life story, the meeting with his mother, her talking about his destiny? His myrmidons? His being the hero, the dalliance, killing the Thessalonian giant? In Sparta, sailing to Troy? His not wanting to go? A sense of detachment? His relationship with Agamemnon, antagonising him? His relationship with Patroclus, cousins, training him in battle? Their friendship? Troy, the attack, Achilles and his speed of attack, his warriors, his decision not to go further? His not fighting? His even deciding to sail home? The pressure from Agamemnon and his disregard for him? The encounter with the priestess, freeing her from the men, having her in his tent, the antagonism, the discussions, her gradual change of heart, the sexual relationship, his love for her, her love for him? Patroclus and his going in Achilles’ armour, the fight with Hector, his death? Achilles and his wanting vengeance, his relying on his servants, his anger with his faithful servant, apology? His going to the wall, his shouting for Hector to come out? The fight to the death? Killing Hector, dragging his body around the wall, the humiliation? Priam and his visit by night, Achilles’ respect, Priam pleading for respect for his son? Achilles agreeing that there would be mourning for twelve days? Achilles and the attack, the Trojan horse, the fight within the city, his being wounded, his being wounded in the heel? His continually asking would he be remembered and this being used as motivation for him to participate in the battles?

12. Odysseus, a decent man, warrior, the intermediary, wily, the suggestion of the wooden horse – and his being the story that has been most remembered?

13. The other Greeks, the capture of Patroclus, his relationship with Achilles, learning to fight, youth, inexperience, his death? Ajax the giant, vaunting himself, his quick death? The servants of Achilles, of Agamemnon? The soldiers and their brutality towards the priestess?

14. The character of Paris, his youth, inexperience, callous? The affair with Helen? Knowing the danger, her decision to go to Troy? On the ship? Menelaus and his wanting revenge? Parish and his going to his father, his going out to fight with Achilles, his not being killed? The love for Helen, his surviving?

15. Hector, the Trojan hero, the decent man, his relationship with his father, respect, not superstitious with his religion? His love for his wife, child? His success in the battles, the negotiation to stop battle at the end of the day? The orders for each side to get its dead to bury them? The defeat, his fight with Patroclus and killing him, the challenge from Achilles, the long ritual of his getting his armour farewelling his family? The priests and Priam watching? The warning to his wife and the plan for escape? The battle with Achilles, his death, humiliation?

16. Priam, his age and experience, his dignity? His respect for the gods, for the priest’s advice, when to do battle, to advance, to take in the wooden horse? His attitudes towards Paris, towards Helen? His grief watching Hector’s defeat? The visit to Achilles, the dignity in his imploring Achilles’ respect? His amazement at the destruction of Troy?
17. The priestess, the dedication in the temple, the slaughter in the temple? Her being taken, her response to the soldiers, her going to Achilles, antagonism, changing her attitude, in love with him? Her being returned to the Trojans, her escape with the women?

18. The wooden horse, a device, the reasons given by the priests as an omen of luck? The Greeks inside, their coming out, the visuals of the slaughter and the Greek army being let in the gate? The destruction of Troy?

19. The soldiers on each side, the number of men killed, Agamemnon and his boast about not caring about how many men were killed? The disregard for individual life?

20. The legends of Troy, the classic telling by Homer – and a film corresponding to this classic status or not?

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?

THREE TO TANGO

US, 1999, 98 minutes, Colour.
Matthew Perry, Neve Campbell, Dylan Mc Dermott, Oliver Platt, John C. Mc Ginley, Bob Baliban.
Directed by Damon Santo Stefano.

Three to Tango is a romantic comedy with a difference. It focuses on two architects who have designed a master building for the city. They are played by Matthew Perry, somewhat in the Friends vein, and Oliver Platt. Rival architects, John C. Mc Ginley and Bob Balaban, insinuate that they are a gay couple. They follow through with this, Perry eventually winning the Outstanding Gay Man award of the year.

Their boss, Dylan Mc Dermott, is in a relationship with artist Neve Campbell. He is jealous and asks the allegedly gay Perry to keep an eye on her. The obvious happens, they fall in love, there is an expose of the callousness of the boss, honesty on the part of Perry, and the winning of the award.

Nothing particularly startling, a reflection of attitudes towards gay men and women at the end of the 1990s, a comedy which highlights aspects of homophobia but asks for an acceptance of people, whatever their sexual identity.

1. An entertaining comedy – obvious ingredients? A different triangle?

2. The city settings, offices, apartments, socials? Lofts and apartments? The musical score and songs?

3. The title, the irony of it taking two to tango and this time the third member of the triangle?

4. The credibility of the plot, the characters, their stances, relationships? The issue of the competition for the building plans? The gay and lesbian associations? The award, the irony of Oscar coming out as heterosexual?

5. Oscar and Peter, their relationship, business partners, Oscar’s nervousness for the presentation, Peter supporting him, Oscar blurting things out to Charles? The competition and their snide remarks? The allegations of homosexuality? The consequences for Charles?

6. Charles, his marriage, brittle, deceiving his socialite wife? His relationship with Amy? The affair, his wanting somebody to supervise her? Unable to go to her art exhibition? Asking Oscar, thinking he was safe? His getting reports, his jealousy, the irony of Amy talking to his wife, the cover-up? The expose at the awards ceremony? His wife’s dominating him, awarding the job to Peter and Oscar? The sexual joke at the end? The portrait of an unscrupulous wealthy businessman?

7. Peter and Oscar, their work together? Peter and his control over Oscar? The group of friends, their meetings, discussions, watching ball games, their belief that Oscar was gay, the fights with them?

8. Oscar, in himself, his relationship with women, nervy? Meeting Amy, crushed by the artwork, going out with her, the tuna, being sick? The taxi ride? Going home? Continuing to meet her, her believing that he was gay? She and her girlfriends, confiding in him? His being one of the girls – and listening to the more intimate aspects of their conversations? His wanting to tell the truth? Amy knowing that he was a spy for Charles? The build-up to the award, Amy staying with Oscar thinking it was safe? His falling in love with her?

9. The award, the representatives of the association, the ceremony, his speech, his coming out? The shock for Amy? Meeting her afterwards? The bond between the two?

10. His telling off Charles, Peter and his severity towards Charles? Their still getting the job? A happy ever after ending?

11. Kevin Cartwright, his past relationship with Amy, Charles’ jealousy, the admiration of Oscar, his skills at football? His meeting with Oscar, his approach to him (after Oscar had the people propositioning him in the bus after his interview and the article in the paper – with the various responses, especially from his mother and father)? Kevin Cartwright and the finale with Peter?

THEATRE OF DEATH

UK, 1966, 91 minutes, Colour.
Christopher Lee, Lilia Goldoni, Julian Glover, Jenny Till, Evelyn Laye, Ivor Dean.
Directed by Samuel Gallu.

Theatre of Death is a macabre film, a touch of Grand Guignol.

Christopher Lee, appearing suitably sinister and seemingly humourless, appears as the owner of the Theatre of Death in Paris. He has inherited the plays from his father and tends to outdo him, putting on productions that include scenes from the burning of witches at Salem and executions. With overtones of vampirism, it might appear that he is really his father reincarnate.

The film focuses on the theatre, two aspiring actresses, Nicole who has a chequered history, and Dani who has spent some years in a sanatorium after a breakdown. Julian Glover appears as a doctor helping the police. Glover was to become a strong character actor on the screen and stage over the coming decades, appearing as the King of Thessaly in Troy in 2004.

The film has some grim moments but is also a psychological character study, especially of the sinister Christopher Lee who, unfortunately, disappears from the film too early.

1. The popularity of this kind of macabre horror thriller? From the 1960s? Its style? Impact now?

2. The colour photography and its vividness, the sequences of Paris life? The theatre itself? Apartments? Police precincts? Musical score?

3. The title, the focus on theatre and the discussions about performance, intensity, hooking the audience, suspension of disbelief? The performances – especially the executions, the sequence from Salem 1692, Nicole under hypnosis? The Theatre of Death, the emphasis on death? The popularity of the productions – and the booked-out audiences?

4. Christopher Lee as Philippe Darvas, his father and his heritage, his own character and style? Intense, seeing him observing the guests, the eyes in his own portrait? With Madame Angelique, his running the theatre, directing? His brutality towards his cast in his direction? The plans for the theatre, his hypnotising Nicole, her re-enacting The witches of Salem? His attitude towards Nicole, her moving in? His attitudes towards Dani, humiliating her, his speech against her? The clashes with Charles? His disappearance? The irony that he was murdered by Nicole while trying to help her but using her story for his show?

5. Dani, her background, performance, love for Charles? Rooming with Nicole? The party, Nicole’s hypnotised performance and her danger? Her discussions with Nicole, trying to warn her, Nicole saying she was jealous? The humiliating speech given by Darvas, her continuing to act, her being confronted by Nicole, learning the truth, the hypnotism, about to sign the confession of guilt?

6. Nicole, her background, acting, hypnotised? Not remembering? Her rooming with Dani, accusing Dani of jealousy? Listening to all Darvas’s words? The irony of her story, being fed blood, her craving for blood, the visualising of the murders, her guilt, her attempt to kill Dani? The irony of her being stabbed under the stage?

7. Charles, the accident, his hand, doctor, helping the police? The discussions with the inspector? His reaction to the hypnotism, stopping the performance? The discussions and clash with Darvas, giving him a lift? His being suspected of the murder? His hunch that Darvas was alive? In the park with Dani and Nicole searching for him? The mistaken identity of the man at the pool? The realisation of the truth, reading the manuscript, the discussions with the inspector, rescuing Dani in time?

8. Madame Angelique, the running of the theatre, as producer, her demands on Darvas, his haughty responses?

9. The inspector, the investigations, his observations? The doctor, the explanation of the blood-craving disease?

10. The other members of the cast, the voodoo performance and its provocativeness?

11. The reputation of Theatre of Death in Paris? Audiences enjoying the performance on-screen – with the acting out of a bloodthirsty story concerning Darvas?

TWO BROTHERS

France, 2004, 104 minutes, Colour.
Guy Pearce, Jean Claude Dreyfus, Freddie Highmore.
Directed by Jean Jacques Annaud.

In the late 1980s, Jean Jacques Annaud directed the impressive nature film, The Bear. That was its simple title. This time his focus is on tigers but the title is Two Brothers. He wants us to look at the animals in comparison with human beings, to think of the animals like human beings and respond to their power, their might, their playfulness, their emotions and memories as if they were human. The film is also a plea for the conservation of the tigers whose population numbers are drastically reduced from one hundred years ago.

The tiger are best and the location scenery is impressive too. The humans, on the other hand, led by Guy Pearce as an adventurer-trader, are less well-rounded in characterisation than the tigers. In fact, most of them are more than a little shifty: greedy villagers who want to get rid of the tigers who prey on their animals, French officials who feel that they are lost in a distant outpost, circus people who could not care less about their animals, a prince who concludes that to be as impressive as his father, he has to be cruel and organises a kind of Coliseum combat in a local arena between the two tiger brothers. The appeal to the cruelty and curiosity of the human spectators is rather alarming.

But it’s the memory of the magnificent tigers that lingers.

1. The work of Annaud? His success with The Bear? His attention to presenting tigers on-screen?

2. The use of actual tigers, in the wild, trained? The use of some animatronic tigers? The impact of presenting tigers, fully grown, cubs on-screen?

3. The settings: Indochina at the beginning of the 20th century, the remoteness of Cambodia, the jungles, the villages, the ruins of the temples? The animals in the wild? The excavation of statues and their being auctioned in Europe? The Colonial regime, the cities and markets, the palaces? Politics? The musical score?

4. The title, the focus on the two young cubs? Audience response to the tigers, the making of the tigers anthropomorphic?

5. The opening, the jungle, the majesty of the tigers, roaming the wild? The contrast with ‘civilisation’? The auction, the elephant tusks, the statuary? Mc Crory and his role as an adventurer, hunter, author? His return to Indochina?

6. The adult tigers, the birth of the cubs, the parents and their care for the cubs? The encounter with the humans? The male tiger being shot, carried on a trestle as a trophy? The villagers and their wanting to be rid of the tigers who preyed on their animals? The female tiger, her care of the cubs? The cubs and their playing, the confrontation with the animal, the cub climbing the tree, coming down, timidity, courage? Mc Crory and his taking of one of the cubs, his tending it, its sucking his finger, his giving it the sweets? Its being taken into care when he was arrested? Its being sold to the circus? The other cub and its escape from the hunters?

7. The parallel lives of the cubs, Kumal and his being put in the circus, being trained to go through fiery hoops? His lassitude? The brutality of the trainers? The contrast with Sangha, his being taken when his mother was wounded, with the envoy, Raoul and his looking after Sangha, Sangha and the torment of the dog, destroying the dog? His having to be taken away, put in the underground zoo, kept savage?

8. The mother, wounded in the ear, wandering the wild? The cubs and their growth into adulthood, their being pitted against each other in the arena, their rediscovering each other, playing, escaping? Mc Crory and his hunting them again, Raoul and his not wanting them harmed? The difficulty of their not being able to hunt in the wild? Raoul and his talking to Sangha, Mc Crory and his meeting Kumal? Their being trapped by the fire, their being let go? Rejoining their mother in the wild?

9. The humans, more two-dimensional than the animals? Mc Crory, hunter, writer, adventurer? With the tigers, put in prison, the envoy releasing him? His going with the prince, the hunt, the wounding of the tiger, the taking of Sangha? His presence at the fight, his wanting to buy Kumal, his walking out? Leading the final hunt, the discussion with Raoul, his letting the tigers go into the wild?

10. Normandin and his family, his role in politics, with the prince? His household? Raoul and the tiger, his mother not wanting him to play with it, the savaging of the dog, her getting rid of the tiger? The envoy and his ambitions for service in Spain? The family portrait?

11. The prince, comparisons with his father, his fiancée, his confronting Sangha underground, his wanting the gladiatorial combat, his being disappointed? His fiancée and her wanting the jewels, his putting the necklace around Sangha’s neck?

12. The circus people, Zerbino and his cruelty, the use of the tigers, the imprisonment, selling the tiger for the fight, urging the fight?

13. The humans watching the fight in the kind of gladiatorial arena? The animals playing, the humans running away fearful?

14. The people of Indochina, the people in the village, the exchange of money, the military, the wild animals, the bounties on the animals? The hunting of the animals?

15. The final information about tigers, their being exterminated, the plea for the protection of animals?

TWISTED

US, 2004, 97 minutes, Colour.
Ashley Judd, Samuel L. Jackson, Andy Garcia, David Strathairn, Russell Long, D. W. Moffatt.
Directed by Philip Kaufmann.

Ashley Judd is a striking screen presence. She has appeared in quite a number of thrillers: early in her career, A Time for Killing and Heat; more lately, psychological thrillers with psychosexual overtones, Eye of the Beholder, Kiss the Girls, High Crime and now she is a policewoman in Twisted. She is on the way up in her career (but holds a deep, disturbing secret that her father was a serial killer and murdered her mother). However, she is a troubled woman, careless in her sexual relationships and frightened when she sees that the victims of a new serial killer have all been intimate with her.

She partners Andy Garcia and she (and the audience) become suspicious of him. Samuel L. Jackson is her mentor. Eventually, she is arrested on charges of murder but allowed out to act as bait to the killer – which, of course, is duly taken and the mystery solved. Many critics said the identity of the killer was obvious to them. Well, maybe…

This is quite a dark thriller, routine in many ways, especially when the director has a strong reputation with such films as The Right Stuff, Unbearable Lightness of Being and Quills. But Ashley Judd makes it reasonably worthwhile.

1. The popularity of police thrillers? Murder mysteries? Combination? The negative reviews the film received? Merited or not?

2. The San Francisco settings, the precincts, apartments, the Praesidio? Authentic atmosphere? Musical score?

3. The title, the reference to Jessica, to John Mills, to Jessica’s father? Reasons for being twisted?

4. The portrait of Jessica, the opening – the knife at her throat, the confrontation with the killer? The tactics, arrest? Her promotion? The affirmation from John Mills? Her relationship with him, memories of her parents? His testing her, affirmation of her work? The memory of her parents, keeping the secret? Her father as a serial killer? The murder of her mother? The alleged infidelity? The effect on Jessica, her joining the police force, her investigations? Her own personal life, promiscuous picking up men in bars? Her drinking and blackouts? The case for the multiple murders, the links with her? The first dead man, her having picked him up in the bar, finding him dead, her telling the authorities? Her new partnership with Mike Delmarco? The tension between them? Her giving him information – or not? The day’s investigation and it focusing on herself? The people giving evidence? Her relationship with Ray, the past, his defending the multiple killer? The friendship with Jimmy, rejecting him in the bar, his coming to her house, the night together, her finding him dead?

5. The style of the film, realism, hallucinations and dreams, distorted images, distorted mirrors? A sense of realism? The grim style – and the weather and its being overcast?

6. Jess at work, her clashes with the authorities, the tests by John, her collaboration with Mike? Her telling the truth about the men she was involved with? The investigation of herself? The autopsy? Her own drop of blood, taking it to be tested? Her doubts about herself because of the blackouts?

7. Her drinking, the blackouts, suspicions? Her suspicion of Mike? Relating to him, attracted to him? The clash with Jimmy, his death, her being arrested, in prison, John letting her out?

8. The interviews with the psychiatrist, her resistance, saying she was normal, her childhood, memories, fears? On the job? In the garage, the doctor as a possible suspect?

9. The final set-up, her going with John to see Mike, John as a character, authority, suave, testing people, Jimmy’s failure at the test in the bar? His protection of Jess? The confrontation at Mike’s, his setting up the scene, the story about the drugs and the hallucinations, drugging Mike, laying out the table – as in the photo of the murder scene and her father’s suicide? The gun? Mike’s escaping, Jess and her shock, ringing the police? John hearing the police, his death?

10. The climax, the impact of the truth, the fact that John was a serial killer, his jealousy of Jess’s mother, his judging Jess, protecting her by shooting her men friends? Her shooting him? His floating in the water?

11. Mike, genial, under suspicion, his work with Jess, attraction towards her, visiting the apartment? The end and his experience with John, the survivor?

12. The film seen as a police thriller, a psychodrama?

TO END ALL WARS

US, 2002, 117 minutes, Colour.
Robert Carlyle, Kiefer Sutherland, Ciaran Mc Menamin, James Cosmo, Mark Strong, John Gregg, Yugo Saso.
Directed by David L. Cunningham.

To End All Wars is based on the memoir of Ernest Gordon, a young Scotsman who volunteered to join the army at the outbreak of World War II and was captured in Asia, and interned in a prisoner of war camp in Thailand. He and other Scots joined with Australians and British and were commanded to build the Burma Railway. This is the story treated in such films as The Bridge on the River Kwai.

However, the film focuses on life in the camp, the moral struggles of the young man as he came to terms with his internment, his loyalty to his Scottish comrades, his horror at the behaviour of the Japanese, his concern about the intensity of one of the Scotsmen (played by Robert Carlyle) and the behaviour of an American (Kiefer Sutherland). He is well played by Ciaran Mc Menamin.

The screenplay is earnest and, at times, somewhat preachy. Ernest Gordon spent twenty-six years of his life as chaplain at Princeton University. The religious dimension is very strong, especially in the character of Dusty, who leads people in prayer and scriptural reflections, has set up a space for the prisoners to contemplate and who ultimately gives his life for an unworthy man, being crucified by the Japanese. This character is well portrayed by Mark Strong.

The film recreates the atmosphere of the camps, shows the brutality, especially of the torture, and the consequences for the men. It also shows the resilience of the human spirit, especially when they start their own “university” with graduations in order to use study as a morale booster.

1. Memories of World War II? The war in Asia against the Japanese? Prisoners of war, the fall of Singapore? The internment in Thailand? The building of the Burma Railway? This prisoner of war experience as one of the ignominies of World War II?

2. Thai and Philippine locations for the re-creation of the internment prison? The huts, the grounds, outside the fences? The terrain for the building of the railway? The musical score?

3. The title and its optimism and ironies? World War I and the slogan? World War II? The peace message of the film and the desire that all wars should be ended?

4. The focus on Scotland, the late 30s, the shadows of war? Ernest Gordon, his studies, his way of life? The decision to enlist? The training, the comrades, the importance of McLean? as leader and inspiring loyalty? Campbell and the other Scots?

5. The short experience of action, the fall of Singapore, the internment? The bewilderment of the Scots, the Americans, the British? Antagonisms?

6. The Japanese, the commander of the camp and his drunkenness and forfeiting responsibility? The visit to the camp and his severity? Ito and his cruelty, the Samurai code, his being shamed because of his allowing the defeat of his commander? His brutality towards the prisoners, the beatings, the torture, the killings? His being humiliated? The other officers? The importance of the translator Takashi Nagase? His Cambridge education, his observance, his friendship with the prisoners?

7. Ernest Gordon and the experience, his aggressiveness, his having to learn Japanese customs, the bowing, the respect? His relationship with Campbell and the other Scots? The interrogations, the discussions about escape? The confrontation with McLean?, his being executed? Campbell and his rage? The option for Gordon, to continue raging or to be positive? The influence of Dusty? The decision to teach, the classes, the range of students? Campbell and his hostility and leading his group away? The importance of Yank? His self-centredness, his decisions, his humiliation and being subdued? Life passing, the building of the railway? The leadership exercised by Gordon? The completion of the railway, the graduation, the attempted escape, the executions? Ernest and his observing of characters, Dusty and his religious beliefs, his crucifixion? The end of the war, the liberation, his future and chaplaincy at Princeton? The real Ernest Gordon appearing at the end of the film with Takashi? Two old men and their memories, at the memorial?

8. Mc Lean, leadership of the Scots, his strength of character, the loyalty of the men, his standing up to the Japanese, his official complaints, the Geneva Convention, the brutality of his death?

9. Campbell, a fiery character, loyalty to Mc Lean, second in charge? His role with the prisoners, in the camp? His violent reaction to Mc Lean’s death? His insulting of the Japanese, his being beaten? The resentment, the plans for escape? His men and their loyalty? The pressure on Ernest? The reaction to Yank? The building of the railway, his seeming subdued? The escape plan, his loyal men, their not getting very far, the shootings? The execution of those captured, his not being executed? Dusty giving his life for Campbell? His still not being happy, his resentment against the Japanese, the pressure of Dusty’s death and its meaning? The end of the war, his being unforgiving?

10. The doctor, his presence in the camp, looking after the men, his wise counsel?

11. Dusty, his knowledge of Japanese, his interventions? His prayer, scripture readings, the confiscation of the Bible – and the arguments and its later return? His prayer space, counselling of the men? His volunteering to give his life for Campbell, the cruelty of his crucifixion?

12. The Yank, his being in the prison, his philosophy of life? Scrounging, dealing with the locals? His being taken, his being laid out on the ground for days, the torture, subduing his spirit? His anger, his being on the sidelines in the camp? The building of the railway, his injuries? His owning up when it was alleged that the shovel was missing? The beating, Ito and his humiliation when the shovel was discovered? The men and their puzzlement of the Yank’s volunteering to suffer for them?

13. The other soldiers, the cantankerous British against the Scots? The Australian contingent? The students, the professor and his knowledge of Shakespeare and his recitations? The range of subjects, the graduation, the Japanese in attendance?

14. The railway, the building of the railway, the food rations, the hard labour? The Japanese supervision, the commander and his coming, the defiance of the soldiers? The completion of the railway and the Japanese celebration?

15. Ito, the Japanese commander, his cruelty, the final confrontation with Campbell and the violence of his death, killing himself? The contrast with Takashi, a good man, the humiliation of his service at a low level in the camp? His support of the men?

16. The end of the war, the arrival of the Allies, the Japanese fleeing, the liberation of the men?

17. The portrayal of war, its brutality and cruelty? An argument against war?

SINFUL DAVEY

UK, 1969, 95 minutes, Colour.
John Hurt, Pamela Franklin, Nigel Davenport, Ronald Fraser, Robert Morley, Maxine Audley, Fionnula Flanagan, Donald Mc Cann, Alan Cuthbertson, Eddie Byrne, Niall Mac Ginnis, Noel Purcell, Judith Furse, Francis de Wolf.
Directed by John Huston.

Sinful Davey is a minor John Huston film. It was made in 1969, during a dull period in Huston’s output as director. During the 1960s he had made a number of successful films including The Misfits, Freud, The List of Adrian Messenger, Night of the Iguana and The Bible in the Beginning. While he made Reflections in a Golden Eye in 1967 and The Kremlin Letter in 1970, he really did not get into his stride again until 1972 with Fat City and The Life and Times of Judge Roy Bean.

The film was written by James R. Webb who had a very good list of screenwritings including Apache and Vera Cruz, Trapeze, The Big Country, Cape Fear, Cheyenne Autumn and Alfred the Great.

The film is a Scottish romp, focusing on a young man who wants to emulate his highwayman father while the girl who loves him pursues him to reform him. A young John Hurt appears as Davey Haggart. He had appeared in A Man For All Seasons in 1966 and had begun a very long and successful career. Pamela Franklin is Annie. There is a range of British character actors led by Nigel Davenport as the constable and Robert Morley as the Duke of Argylle.

It is a slight film, a light film – and an entertaining one. At this time James Clavell made a film about an England rogue with Tommy Steele, Where’s Charlie.

1. An entertaining film? A period romp? The re-creation of the 18th century? Law and morals?

2. The Scottish settings, the highlands, the towns and cities, the open road? The widescreen photography? The musical score?

3. Audience familiarity with this style of film in the 1960s – the heritage of Tom Jones? Audiences enjoying the colourful costumes and décor of the 18th century?

4. The film as a memoir, Davey and his father, his father’s life, execution? His father as his model? A successful criminal?

5. Davey, young, aged thirty? In the army, the drum? The river and the mill? The reward for him? His friendship with McNab?, McNab? teaching him? Being a highwayman in practice? The stealing from the banks? His father’s jobs? His two brothers? The coach, the danger? His being pursued by the law? His love for Annie, her love for him, wanting to save his soul? The place of the Duke of Argyll? The decision to rob the duke? His being taken, in the court, in prison? The role of the duke? His being sentenced to be hanged? The escape – and his memoirs?

6. The character of Annie, her age, love for Davey, her lifestyle, her following him, helping him? At the end?

7. The portrait of the law, the constable and his style, the pursuit of Davey, the testimony in the court, the preparation for the hanging?

8. The sketch of the duke and the duchess, their life, Argyll, the hold-up and their reaction, their help?

9. Mc Nab, his knack as a highwayman, the influence on Davey?

10. The amoral tone – the story of a successful highwayman? The 18th century style of novel and storytelling with picaresque adventures and characters?

SHE HATE ME

US, 2004, 138 minutes, Colour.
Anthony Mackie, Kerry Washington, Ellen Barkin, Monica Bellucci, Jim Brown, Ossie Davis, Jamel Debbouze, Brian Dennehy, Woody Harrelson, Bai Ling, Lonette Mc Kee, John Turturro.
Directed by Spike Lee.

“Oh boy!”

These are the final words in the screenplay of Spike Lee’s She Hate Me. Audiences will resonate with them – but they are a vast understatement comment on what we have been through in the previous two and a quarter hours. The final line as the end credits conclude is ‘Mission Accomplished’. (At the end of the opening credits, which feature US bank notes, presidents and sketches of US scenes, comes a bank note with George Bush on it, Enron stamped beside his photo – it is a $3.00 note!!).

Spike Lee has often been angry. Here he is upset and angry. Corporation deceit and lies is his initial target, especially when there is fraud concerning a vaccine for AIDS. He is angry at American politicians, especially Richard Nixon and includes a fantasy sequence where Frank Wills, the security guard who discovered the Watergate break-in, is humiliated and the main Watergate criminals boast of their successful post-Watergate celebrity and careers. Lee is also angry about the moral stances of the conservative Right, especially concerning Gay and Lesbian relationships. He is, as always, angry at the treatment of African-Americans? by middle-class America. Quite an agenda for a movie.

Perhaps there is too much agenda. The expose of crooked corporate dealings is strong enough in itself. The other part of the plot concerns the sacked whistleblower (Anthony Mackie) and the pressure his former girlfriend (Kerry Washington) and her partner put on him to father children for a group of lesbians who are prepared to pay well for his services. In the background is the familiar story of his struggling and ageing parents. As these strands come together, Lee seems to be saying that the hypocrisies of publicly respectable executives who lie to make money and destroy any opposition in their path should be seen as morally despicable compared with the man who does accept money as a surrogate father but who opts to re-examine his life and values and accept responsibility for his actions and, finally, relish love and being a father.

This is one of those films where it is not helpful at all simply to ask what it is about. The topics might lead to anyone’s ‘offensive’ list. Rather, it is a film that will not please everyone, will rankle with some moral viewpoints, but which can lead to endless profitable moral discussion. And it is pro-life – and then some!

Some of the acting is on the caricature side – well, so are some of the situations: from the animated sperm sequences to the encounters of the women with the hero, from the picture of the genial Mafioso (John Turturro, with Monica Bellucci) to the court case (with Brian Dennehy). Woody Harrelson and Ellen Barkin are the touch corporation chiefs.

She Hate Me is sometimes rough and ready, sometimes polished and moving, always provocative and stimulating concerning the state of the US and of contemporary morals.

1. The hostile reception to the film? Not a box office success? Expectations of Spike Lee? His choice of these issues, the black man, the executive, the whistleblower, the man in confusion, the background of the lesbian group, artificial insemination and surrogacy? A perspective of anger?

2. The American issues? The complex range? Lee coordinating them? Emphasis on some, not on others? Hit and miss? The credits – the three dollars, the mission?

3. A New York story, the world of business, the affluent world, the variety of neighbourhoods? Black America in New York City?

4. How much of the film is realistic, how much stylised? The Watergate fantasy? The sperm score …?

5. The title, the T-shirt, its tone, Fatima and her attitude? The lesbian attitude towards men?

6. The character of Jack, Jack as focused? In himself, a sympathetic character or not? Age thirty, his hopes? Family? The visits? The arguments in the family? His sister? Antagonism, the illness, overhearing the family squabbles and issues?

7. Fatima, as a character, his relationship with her in the past, the break-up and the four years? Her coming out as a lesbian? Her living alone, her apartment, the décor? His relationship with her, the visit from Fatima, and his feelings towards her? Love and anger? Puzzlement?

8. Jack at work, vice-president, his potential? The doctor and the discussions, the advice? His whistleblowing, the unethical practices? The DRA? Suicide, reaction? Margot Chadwick? Leland Powell? The cover, the arguments? The speeches, the consequences? His way of life, the lies? The investigations?

9. Fatima and her relationship with Alex, attitudes, the quality of the relationship, the perspective of lesbianism, the perspective of the screenplay on same-sex relationships?

10. The proposal to Jack, his reaction, the reactions of the women? The visits, inspecting Jack? The collage of the sexual encounters? The dramatic climax?

11. Jack, his decision, bank number and anger? His needing the money, the money from the women? The price? Fatima and the relationship, the pregnancy, Alex and her non-pregnancy?

12. Margot Chadwick, the visit, framed?

13. Simona, the visit, her father – Godfather? The discussions, the deal, friendship? The Italian links with the African Americans? Surveillance, his arrest and the consequences?

14. Jack in court, the father, prison visits, the expose about the pregnancy? The disc, the expose of the doctor? The judges and their final attitude?

15. The condemnation, Leland Powell, his arrest?

16. The ménage, the women, the births? Geronimo Armstrong and his watching? The reaction of the family?

17. The political statement for 2004, the elections in the end of 2004? The film’s stance on President Bush and the Republicans? Issues of pro-life? Pro-life versus other crimes? Priorities? A personal perspective from Spike Lee?

SILENT TOUCH

Poland, 1992, 96 minutes, Colour.
Max von Sydow, Lothaire Bluteau, Sarah Miles, Sofie Grabol.
Directed by Krzystof Zanussi.

Silent Touch is an English language film made by celebrated Polish director Krzystof Zanussi. It was co-written by Peter Morgan who over ten years later was to write such celebrated screenplays as The Deal, The Queen, Longford, The Other Boleyn Girl.

Zanussi was one of the strengths of the Polish film industry, despite his overt Catholicism. During the 1970s he won a number of awards all over the world. After the fall of communism, he became the head of the Polish studios in Warsaw, producing a number of films including those of Krzystof Kieslowski. Zanussi’s best-known film is Year of the Sun, 1984, which was a world prize-winner.

This film focuses on Max von Sydow as an ageing musical composer, in the classical vein. He is also a survivor of the Holocaust. When a young musicologist comes to visit him, he is inspired to do one more final work. However, there is an emotional cost, especially for the musicologist whose girlfriend becomes the composer’s mistress. This also has its repercussions for his wife.

Lothaire Bluteau (Jesus of Montreal, Black Robe) is the musicologist. Sarah Miles came out of semi-retirement to play the wife.

The film is highly melodramatic - but explores themes of art, genius, obnoxious personalities, fidelity and infidelity, creativity.

1. The impact of the film? Humanity, creativity, healing?

2. The Polish settings? Denmark? Co-production? The international cast?

3. The role of music, the opening, the musical score throughout the film, the composition, performance?

4. The title – and the reference to Stefan?

5. The opening, the flames and the chords, waking? The quiet and the quest? Vocation, drive? The tone of the film?

6. The effect of the music on Stefan, as a musicologist, wondering about the chords? The professor and the discussion? Kesti and his memories of the war? His arrogance? The clash – yet helping Stefan?

7. Kesti, Max von Sydow in the role? His presence and bearing? Style? The contrast with Sarah Miles as Helena? Kesti and his age, ill? His moods, relations, business? The relationship with Professor Kern? The silence for forty years? His opinions on Schoenberg and other composers?

8. The character of Stefan, the glimpse of him, the journey and the quest, the water divining – and its being a symbol of his search? His being ousted, cut off, the letter and his not reading it? The information about the bad back – the follow-up? Health? The healing with his touching of the head? The massage?

9. Kesti’s change, the invitation, discussions, the origins of the chords, the Jewish background, performance, the untuned piano? Helena and the reserve? The variety of moods – but proceeding with the quest?

10. The opportunity for Kesti, a chance for life, creativity, his heritage?

11. The shop, the paper, auditions? Wanting a secretary? Annette and her help? The sexual relationship? The effect on each of the characters? Devotion? The pregnancy and not telling anyone?

12. Stefan, illness, power going out of him, empowering others, the hospital? His likeliness of dying? Conceit? The television?

13. Power and healing, the doctor and his questions, the revival – and the power gone? Normal again? Isolated, alone, without sex, a saviour, a healer? Stefan as a realistic character? Symbolic character?

14. The build-up the concert, the achievement, the collapse after performance?

15. Helena, anticipation, Stefan to go? The ambiguity? Annette, the child? Suffering? Calling Stefan to come?

16. The background of ordinary life, changed lives and the effect? The achievement? The silent touch, the healing touch, the baby?

17. A film with the touch of the ordinary, the mystical, the transcendent?