SLIDING DOORS

UK, 1998, 99 minutes, Colour.
Gwyneth Paltrow, John Hannah, John Lynch, Jeanne Tripplehorn, Virginia Mc Kenna.
Directed by Peter Howitt.

If you would like a pleasant romantic comedy fantasy with some realistic edge, then Sliding Doors might fit the bill. It is a small-budget British comedy with American backing and an American star who does an excellent English accent (as she also proved in Emma), Gwynneth Paltrow. Writer-director, Peter Howitt, cleverly sets up the situation where Helen (Paltrow) gets sacked, races for an Underground train and misses it - or what if she didn't miss it? We follow the two lives that Helen might lead as they are neatly intercut throughout the film. Can Helen be assertive and make a career? Can she build a relationship with her boyfriend (who is, in fact, deceiving her, full of self-pity)? What about the talkative Scot she meets on the train? All these answers and more are offered in this pleasantly light movie - and an opportunity to be beguiled by Paltrow.

1. The popularity of the film? Romantic? What if …? A British perspective?

2. The authentic London settings, flats, offices, workplaces, bridges, rivers, the underground?

3. The songs and the musical score?

4. The entertaining premise: what if? Oneself, one’s other self? A better self? Dreams/reality? Truth versus lies?

5. The title, the underground train, Helen’s life?

6. Gwyneth Paltrow and her screen presence, charm? John Hannah versus John Lynch? Versus John Lynch and Jeanne Tripplehorn?

7. Helen’s world, the flats, the workplace, her flatmates, Anna? Clive? Russell? The restaurants, the pubs?

8. Helen, in herself, at home, her relationship with Gerry? Her work, getting the sack? The feminist stance? At the station?

9. The sliding doors moment? Time, alternate time? The possibility of developing each of her characters? Intercutting each of the Helens? The plaster, her hair, the parallels, fainting, pregnancy, accidents, the hospital? The resolution?

10. The portrait of James? Helen seeing him on the train, talking, the pub and grief, the drink? With Anna, Clive and company? The dinner, the kiss, moving? The launch? His mother? Claudia? Not telling anyone? Going away? Neil, love, sexual relationship? The truth? Helen and the bridge, the accident?

11. The contrast with Gerry, Gerry asleep? The discovery of his relationship with Lydia? Gerry being the same in both worlds? His lies? The relationship with Helen? The visit? His being followed, the library? The weekend? The phone, the interview? Russell, the phone and the revelation? His relationship with Lydia, his shame, this haunting him, the phone call and the denial of the affair?

12. Lydia, as a personality, the affair, her relationship with Gerry? The past, the phone call, the window? The weekend and the outburst? The final set-up? Her pregnancy?

13. The two Helens, finding Lydia, the relationship with Anna, the drinks, James and the train, love, job, the waitressing, the meals, the row? The sexual relationship in each story? Talk? Betrayal? Pregnancy? Death?

14. The real Helen, coping, her job, waitressing, listening, the flowers etc? Lydia, the abuse? The worry, the end? The accident and the lucky escape?

15. The supporting characters – personalities, sketching in of characters? James’s mother? Claudia? Anna? Clive? Russell?

16. The mystery of the events, synchronicity – and the possibility of finding true love?

SUMMER MAGIC

US, 1963, 110 minutes, Colour.
Hayley Mills, Burl Ives, Dorothy Mc Guire, Deborah Whalley, Eddie Hodges, Michael J. Pollard, Una Merkel.
Directed by James Neilson.

Summer Magic is the kind of film that Disney was making during the first half of the 1960s. Many of these were with Fred Mac Murray, The Absent-Minded? Professor, The Shaggy Dog. A number of them were also star vehicles for Hayley Mills. She had appeared in Pollyanna and The Parent Trap. Her other Disney films included The Moonspinners, In Search of the Castaways and That Darned Cat. Dorothy Maguire had also appeared in Disney movies including The Swiss Family Robinson.

The stars are all gathered together, along with Burl Ives, to present turn-of-the-century entertainment – which, probably, is more geared to a young female audience, an audience who might identify with Hayley Mills and the other teenage girls.

A widow moves to the countryside and is given a house by the kindly store-owner, Burl Ives. Their older daughter, Hayley Mills, takes the initiative and they transform the house – but there is a final surprise as the owner of the house is not old gentleman overseas but a young woman who has just finished college.

The film also features songs by the Sherman Brothers who were emerging at Disney Studios at this time and made a great impact with their score for Mary Poppins. Director is James Neilson who directed quite a number of Disney films including Bon Voyage, The Moonspinners.

1. An entertaining family film? The style of Disney in the 1960s? Looking back to the early 20th century?

2. The intended audience? Family – family values? Teenage girls and the central characters? The tone and style?

3. The country town, the house, countryside? The celebrations? Costumes and décor? The Sherman Brothers’ songs – for each of the characters, the way they were inserted into the plot?

4. The Carey family, mother and the children, in the old house? Their moving to the country? Nancy and her letters? Osh Popham and his kindness? The house, their moving in, Nancy and the organisation of everything for the renovation? The renovation itself? The family settling in? Part of the town? The help of Posh, the installation of Mr Hamilton’s mother’s portrait? The build-up to the ceremony, the dedication? The dance and the celebration? The unexpected arrival of Tom Hamilton – and the happy ending?

5. The family, mother and her kindness, consideration, wise advice to her children, especially about Julia? Being busy? Indebted to Osh – but not quite believing his optimistic stories? Nancy, her age, initiative? Leadership? Buying things at the store, friendship with Lallie Joy? Julia’s arrival, the tensions, her blurting out the truth, the reconciliation? With her brothers? The songs? Busy in town, busy at the house, the dedication? The picnic and meeting Charles Bryant? The encounter with Tom Hamilton and not knowing who he was? Finally dancing with him? Gilly, his age, playing the piano, songs? His friendship with Digby? Driving the car, the job? Peter and his hair, always picking at him, the haircut, Osh changing the clothes, his work clothes? The scenes with the dog and the comedy with the dog?

6. Julia, wealthy background, not wanted by the Ferguson family? Coming to the prairies, her snobbery, her stories? Fear of the countryside? Margaret’s care for her? Nancy and making her afraid? Meeting Charles Bryant? Digby? Julia and her attraction towards Charles? Charles Bryant, the teacher, young, in the town, friendship with the Careys?

7. Osh, the store, his optimistic stories, kindliness, making up stories, writing the letter to the owner of the house? His dealing with Mariah? Her scolding him? Her visits to the family? Osh and his theories, saving the day? The arrival of Tom Hamilton? Having to cope?

8. Happy families, old American families? A piece of early 20th century Americana?

SPEEDWAY JUNKIE

US, 1999, 105 minutes, Colour.
Jesse Bradford, Jordan Brower, Jonathan Taylor Thomas, Daryl Hannah, Tiffany Thiessen, Patsy Kensit.
Directed by Nickolas Perry.

Speedway Junkie is something of a junior Midnight Cowboy. A young man played by Jesse Bradford runs away from home, especially his father with his military discipline in the home. He is interested in the car racing circuit. However, he ends up in Las Vegas, is robbed, comes across a gang and becomes part of it.

The two central characters in the gang are Eric and Steve, played by Jordan Brower and Jonathan Taylor Thomas. Eric is a gay man and is infatuated with Johnny. Steve is a much more violent and ambiguous character. Daryl Hannah and Patsy Kensit have supporting roles.

The film shows the grubbier aspects of hustling life in a city like Las Vegas. The film was directed by Nickolas Perry, a writer and documentary-maker (Hunting for the President, the documentary about attempts to attack Bill Clinton).

1. The impact of the film, the niche audience? American response? Universal?

2. The Las Vegas settings, the streets and lights of the city, the casinos? The contrast between the wealthy living in the city, the streets and poverty? Las Vegas alive at night? The songs and the musical score?

3. The title, its description of Johnny? His love for the speedway? His addiction – and its consequences?

4. The credits and the game, loud, the diner clients, no quarters?

5. Johnny’s aim, the speedway circuit, to be a driver? The army background, the discipline, his absorbing the prejudices? Not wanting to be told how to act? His absent mother, dreams of his mother?

6. Johnny as naïve, his pretences, going to Las Vegas, his bewilderment, ambitions, going to the casino, his being robbed? His sitting in the streets? His being picked up – and given breakfast? The masochism? The group and mistrust? Eric and his story, sexual orientation, Johnny’s response, the kiss and the reaction? The wedding sequence and their being thrown out?

7. The atmosphere of the Las Vegas streets, the people on the streets, their backgrounds? Steve and his position in the gang, his personality, bisexual? The drugs, the stolen cars, the clients? Eric and his way of life? A more sympathetic character? Not entirely bleak – but a bleak life?

8. Johnny and his motivation, the need for money, the discussions with Eric, Eric setting him up? The encounter with Veronica, her being nice? The stories, the warnings? Donna and his getting the lift? His relationship with the girls? What was happening to him?

9. Eric in himself, the story, his mother? With the group, sexual orientation, sensitivity? The kiss, caring for Johnny, bed and breakfast, with Veronica? Unrequited love? Riding, talking, sharing the stories – and experiencing some happiness?

10. The character of Veronica, the dance, the drugs? The police and protection? A victim? The warning? The sexual encounter, the birthday, at the end?

11. The world of drugs, dealing, Stephen and his role, the dangers? Guns? Life on the street, the soup, the shooting? The death and the dollar?

12. The finale, the end of Johnny’s journey? The repercussions for Steve? For Eric? How much of a success?

13. An exploration of young characters, possibilities in life, hopes, sexual orientations, behaviour, hustling, a morality story?

STRANGER THAN FICTION

US, 2006, 113 minutes, Colour.
Will Ferrell, Maggie Gyllenhaal, Dustin Hoffman, Queen Latifah, Emma Thompson.
Directed by Marc Forster.

I could offer a very Jungian explanation of why a large number in the audience may well not enjoy Stranger than Fiction – this is a film which expounds and illustrates some literary and psychological theories – but in the vein of the film, it is better to offer them obliquely. The screenplay, full of cultural and cerebral jokes, wants the audience to do the work. The film is one of those entertaining fantasies (filmed and played as if it were realistically happening). It is full of intuitive leaps that are not always immediately logical. And just as if we were getting a handle on it all, off it goes again. Which means that it is an intuitive’s delight.

A couple of years ago, Dustin Hoffman appeared in I Love Huckabees which was billed as an existential comedy. Stranger than Fiction, again with Hoffman, could be described in the same way. There is some light philosophising about identity, some more serious philosophising about facing death.

Will Ferrell submerges all his zany instincts (Ricky Bobby, Anchorman, The Producers) and gives an excellently subdued performance as a quiet, unimaginative tax officer who begins hearing a voice describing everything that he does, even anticipating what he will do. The voice is that of Emma Thompson in her precise British best. We quickly discover that Ferrell is the central character in Thompson’s new novel. But she has writer’s block (though reluctantly accepting the assistant (Queen Latifah) imposed on her by her publishers) as she tries to imagine how she will kill off this character.

When Ferrell realises what is happening and gets sympathetic but not helpful advice from psychologists (Tom Hulce and Linda Hunt), he consults a literature professor (Dustin Hoffman) who explores his dilemma with him, trying to work out whether he is in a comedy or a tragedy. In the meantime, Ferrell slightly lets himself go as he is attracted to a cookie baker (Maggie Gylenhaal) who does not pay all her taxes, only the percentage of money that is put to uses she approves of.

Will the character discover who the author is? Will she satisfactorily kill him off? Will this have an emotional effect on her? What will the professor finally advise? All this – and more are explored and answered.

Working on a happy ending (comedy or tragedy) challenges the presuppositions of authors and critics alike. It always seems ‘better’, ‘purer’, ‘more noble’ to many critics to have an unhappy ending – with a touch or more of irony if possible. But, do authors and critics really want to go home to unhappy and tragic families in fact? How many of us want the artistically satisfying tragic ending in real life? So, why not happiness, emotions, sentiment at the end of a novel, play or film? Listening to Emma Thompson speaking on all of this is a nicely critical challenge.

Very well acted, the stars at their best, wittily written by Zach Helm and artfully directed by Swiss Marc Forster (unpredictable as he also directed the diverse Monster’s Ball and Finding Neverland), it may be a bit tedious for Jungian Sensing types but stimulating for Jungian intuitives.

1. Critical acclaim? Awards? The blend of fantasy and reality? Fantasy presented as reality? Entertaining, stimulating?

2. The Chicago city settings, Harold and his apartment, the streets, workplace? The buses, the streets, the bakery, the apartments? Karen’s imagination for the deaths – of buildings, of bridges? The musical score? The lyrics and the relevance?

3. The title, truth and fiction, Mark Twain and his comment on truth – but fiction offering more possibilities?

4. The characters, the names of various mathematicians? The importance of mathematics, numbers, formulas? The illustrations over the credits, over some of the action, giving statistics and figures?

5. The tradition of stories about authors and their creations coming alive, the interaction between authors and characters?

6. Karen’s narrative, Emma Thompson’s particularly British tones, the literary style, clarity of prose, her voice and tone, her story about Harold’s watch, the importance of the watch throughout the film? Resetting the watch – and the final climax? Harold and his hearing her voice, looking around, her flow being interrupted? The real Karen, at her typewriter, writer’s block, imagining the various ways of death – on top of the building, the car crashing into the river?

7. Will Ferrell as Harold, a quiet performance, reactions rather than action? Waking up in the morning, his watch, the time, the number of times he brushed his teeth, dressing, eating, arrival at the bus stop, checking the time, the workplace, greeting people, their asking him to multiply figures? Work, files, taxes? His friendship with David, the lunch break, the careful use of time, leaving alone, at home alone?

8. His concern about the voice, the interruptions, asking the woman at the bus stop about the voice? Checking with David? His visits to the doctors, his explanations, their disbelief, the literary connection? Going to Professor Hilbert? Dustin Hoffman’s style? Hilbert and his lack of interest, being arrested by the phrases, explaining the number of courses that he had taught, further discussions, the list of questions for Harold? Whether he was in a comedy or a tragedy? Harold and his self-reflection? His list, marking off the possibilities?

9. The visit to the doctor, the suggestion of the holiday, his relaxing, the demolition of his apartment – the wrong one? His watching Mr Creosote in Monty Python and The Meaning of Life? The discussions with David, moving in, lifestyle, Karen’s commentary about his being at home with David? The discussions about David wanting to go to space camp?

10. The visit to Anna, the bakery, her clientele, the personal clashes with her, her refusal to pay the percentage of taxes, her believing in anarchy? Baking, the cookies? The arguments? Her wanting to provoke him? His staring at her and her reaction? His later reflections on her? The visit, the pursuit, on the bus, her fall? His apology? His spending the day looking at her documents, her deliberately putting them in a mess? Feeling sorry for him, asking him about cookies and milk, getting him to eat a cookie, the relationship? The sexual relationship? His visits to her apartment, watching A Man and a Woman and Francis Lai’s music?

11. The visits to Professor Hilbert, Harold and his interest, enjoying them, Hilbert and his enjoyment? The discussions, hearing the voice on the television, seeing Karen? Recognising her? His rushing to the publisher, trying to get her address? Going to the office, the tax returns, finding her, visiting her?

12. Karen and writer’s block, nothing for ten years, standing on the top of the building, the car crash and the bridge? The fact that she had to kill Harold? That she had killed all her central characters in her novels? The ten years block? Her manner, erotic, smoking cigarettes, putting them out in the tissue? Penny’s arrival, the confrontation, her reluctance to accept Penny?

13. Penny, in herself, her work, the publishers, guarding Karen, a strong presence? The meeting with Harold?

14. Harold and the manuscript, Karen and her not having typed it? His taking it away to read, giving it to Professor Hilbert, the professor enjoying it, Karen typing it? The issue of art and life? Hilbert and his thinking that it could not be changed, that Harold had to die, had to make the sacrifice? Harold, reading the manuscript, accepting this?

15. Harold and his last day, getting up, dressed, the bus, the difficulty with the watch and the time? Audiences having seen the boy in Karen’s imagining of the deaths, his causing accidents? Harold and his reaching out to save him, hit by the bus? In hospital?

16. The boy, his father, getting him safe and sound?

17. Harold, his survival, Karen and her reaction, the professor and his accepting the ending? The discussions about comedy and tragedy, happy endings? Anna and her visit? Harold and his surviving?

18. A film about death and taxes? About literature? About creativity and writer’s block? About literary professionals? The challenge to critics who like unemotional and sad and tragic endings – and Harold’s survival and happy ever after?

SHE’S ALL THAT

US, 1999, 96 minutes, Colour.
Freddie Prinze Jnr, Rachel Leigh Cook, Matthew Lillard, Paul Walker, Jodi Lyn O’ Keefe, Kevin Pollak, Kieran Culkin, Elden Henson, Tim Matheson, Anna Paquin, Gabrielle Union, Dule Hill, Clea Duvall, Alexis Arquette, Patricia Charbonneau.
Directed by Robert Iscove.

She’s All That is a pleasant variation on some of the more crass teen movies of the 1990s, culminating in the American Pie series. However, this is a somewhat idealised portrait of teenagers in high school. There are all the expected stereotypes, the sportsman hero, the caddish best friend, the plain Jane who only needs to take off her glasses to become beautiful, the prom queen who is malicious, the brothers and sisters in the family… They are all given the expected treatment – but with the light romantic touch rather than with any irony or cynicism. Freddie Prinze Jnr made a number of films in this vein including Boys and Girls. He was to go on to the Scoobie Doo films. Rachel Leigh Cook is a far more serious actress and appeared in a whole range of films including Josie and the Pussycats and Antitrust. Matthew Lillard, also destined for Scoobie Doo, has played the knockabout fool role in many films. Paul Walker, who portrays the caddish character, in fact went on to star roles in The Skulls, Too Fast Too Furious, Time Line. There is a strong supporting cast with Kevin Pollak as the heroine’s father, Kieran Culkin as her brother, Anna Paquin as the plain Jane’s sister. There are a number of other cast members who went on to stronger roles including Gabrielle Union and Dule Hill (The West Wing).

1. The popularity of this kind of teen movie? The more wholesome kind of romance compared with the crass comedies?

2. The LA setting, high school, the ethos of the school, homes and families? The expected world of Los Angeles – with the touch of television sitcom tone? The musical score and songs?

3. The title, the focus on Laney, the expectations of Zac, of Dean? Of her family? The variation on the ugly duckling story?

4. Zac, the popular student, the prom king type, his relationship with Taylor, the split, her dumping him? The joke, his bet with Dean, Dean as his best friend? Making any girl want to go to the prom with him and become prom queen? The conditions? Dean picking the girl? The decision to choose Laney? Zac, his background, wealth, status? The contrast with Laney’s family? His trying to be charming, Laney and her resisting him? His going to the conceptual arts club, his improvising and performance, her favourable response? His mellowing towards her but not telling her the truth? Their being together, the effect on him? Unexpected for him? The preparation for the prom, Laney learning the truth, Zac going with his sister? The dance, Laney snubbing him, going off with Dean? Zac going to her home – and the happy reunion?

5. Laney, her studies, her abilities, the glasses, haircut, clothing? The reaction of her family? Poorer, her father as pool repair man? Her being surprised at Zac’s approach, gradually changing her mind, the conceptual arts performance? The transformation, at school, with the other girls, Taylor and her antagonism? Laney as a candidate for prom queen? Her learning the truth from Dean, her anger, the break-up with Zac? Going to the dance with Dean? Her losing out to Taylor? Her decision to leave with Dean, his attempted seduction, her getting away, the return home, the happy ending?

6. Dean, the popular type, stereotype – but malicious, his friendship with Zac, the bet, picking Laney? His insidious attitude towards Zac? Towards Laney? His telling Laney the truth? Going to the prom, his intention to drug her, the seduction? The mean character of the film? Along with Taylor? The prom queen type, bitchiness, dumping Zac, Brock and the relationship, intimacy with him – but his watching the television? Her disbelief about Zac, breaking off with Brock? Going to the prom, her being prom queen?

7. Brock, Matthew Lillard’s daffy kind of comedy, the television star, self-importance, relationship with Brock, intimacy with her – and watching his reruns on television?

8. The Syler family, Zac’s sister, her comments, going to the prom? His parents? The Boggs family, the father, the pool repairs, the young children?

9. The atmosphere of school, the principal, the teaching staff, the sports events, the prom? A romantic atmosphere for a light teenage comedy?

SOMERSAULT

Australia, 2004, 106 minutes, Colour.
Abbie Cornish, Sam Worthington, Lynette Curran, Erik Thomson, Holly Andrew, Leah Purcell.
Directed by Cate Shortland.

A somersault? You go up in the air in a somersault. You go to a new place, so to speak. Your feet are not on the ground. And, if you keep your eyes open, you will see everything from a different angle, the world upside down. You then land confidently on your feet. Cate Shortland's debut film is about a sixteen year old Canberra girl who feels she has to leave home, leave her mother whose boyfriend she was caught kissing. Her journey is an emotional and maturing somersault.

While this is not new material, it is well treated, especially in Abbie Cornish's performance as Heidi. When she arrives in Jindabyne, expecting to get a job, she doesn't get it. Nor does she always manage well, especially in the sex department. There is some hope in a liaison (she sees it as love; it never occurs for him to look at it that way) with a rich young farmer (Sam Worthington). She is befriended by a motel owner (Lynette Curran in an earth-mother role) and finds that a local family begins to show an interest in her. But, with her inexperience and the emotional baggage she is carrying, she ruins most things. Instead of a somersault, she could have fallen flat on her face.

Abbie is that she is still at school, only sixteen. When we meet her, we know nothing about her and the screenplay really does not fill us in at all. All we know is that home is with her mother and live-in boyfriend. Mother works, he decides to call in sick. Abbie comes into the bedroom, examines and touches his tattoos. They kiss. Mother finds them.

Abbie is strongly introspective. This is clear in her reflections on her relationships and how she perceives herself and others. While she acts like a party animal and is easily picked up by casual predator boys, she seems to be comfortable in being alone. The taken-for-granted promiscuous behaviour may be something learnt from her mother (or may not) and seems to be an indication of loneliness and insecurity rather than who she really is. Her desire to love and be loved suggests she will become a woman who is more deeply committed to one person.

One thing seems pretty clear, she can be decisive. No sitting around waiting for something to happen. She tries for a job from someone she met in Canberra and who rashly told her to look him up. No job. While looking in a store, she tries again but is interpreted as flirting. She sees an ad and she applies.
She notices details and remembers. She touches things - and she likes to touch people and to look at them, directly.

What finally emerges, after a casual one night stand and a threesome that doesn't happen, is that she does not yet need a man's love. That will come. Rather, she needs a mother. Irene, the motel manager, whose son is in gaol for murder and has offered her his room when she had nowhere to go, wants Abbie to leave after her slatternly behaviour. But Irene is too kind to be harsh. She acts like a mother surrogate and provides the solution to bring the somersault to a safe conclusion: some self-confidence and trust that her mother will forgive her. Abbie phones and her mother comes to get her. It is the kindness of others that saves her and a realisation that forgiveness is needed - from herself as well as others.

1. The film as a first film? Its subject, the female perspective?

2. The initial Canberra settings, the countryside, Jindabyne, the Snowy River area, Lake Jindabyne? The winter sequences? The snow and the snowfields?

3. The style of the film, natural realism, the stylised tone, especially the blue colouring? The musical score and its mood?

4. The title, the nature of a somersault, up in the air, looking at the world from upside down, landing on one’s feet – or not? Heidi’s experience as an emotional somersault? The almost total focus on Heidi and her character and experience?

5. The introduction to Heidi, the car, her mother in the bar, Adam? At home, the information about her being at school, her mother going to work, otherwise no information about her?

6. Heidi going into the room, Adam and his tattoos, touching them, making advances, her kissing? Her mother’s return, the angry reaction? Heidi and her being confounded and upset?

7. Her decision to leave, the bus to Jindabyne? Her motivation, hopes, lack of hope? The ringing Eddie and his fear of meeting her, no job? Roy, the shop, his interpretation of her as flirting? Her going to the bar, seeing the young men, dancing with the young man, going to the flat, the sexual encounter with him? Joe seeing her, her seeing Joe? Meeting in the bar, his picking her up? Her going to the motel, her response to the room and liking it? Meeting Irene, Irene as kind, wanting to reserve the room, Irene giving her son’s room, explaining that he was away for a long time? Heidi and her response to the room in all its detail? Her seeing the advertisement, replying to the advertisement, discussions with Bianca?

8. The possibilities for something good to happen in Jindabyne, her work, meeting Joe? His not acknowledging her in the shop but waiting afterwards and taking her out? Their nights together?

9. The effect of this relationship with Joe, her falling in love, wanting to touch, direct eye contact, her needs, expression of love?

10. Joe and his being more straightforward, his wealthy family, his travels, his work, with Stuart? The brusque reactions of his father? His relationship with his mother? Helping Richard out with the tractor, the discussions about him selling up, the talk about his relationships and his being gay? Stuart and the banter? The discussions with Richard about his travels? His wanting to know what it was like to be away from home, the experience of exile? His relationship with Heidi, discussions with Stuart, seeing it merely as a sexual thing? His own personal fears, holding things in, using Heidi? His taking her to the restaurant, the group going to Thredbo? The chilli and her eating it, her reaction, vomiting? His taking her back to the motel? His going to Thredbo, talking with the group, hitting on the girl, her reaction, the argument with Stuart, fighting him about Heidi? His going to Richard, his kissing him? His father, his not seeing Heidi any more?

11. Bianca and her initial resistance, her getting the lift with Bianca’s mother, meeting Karl? The explanation about his illness, his autism, his inability to have any reaction but merely imitating others? Her version of this syndrome? The day out, the pony, the riding, the friendship with Bianca? Roy’s coming in, his courtesy, driving her home, parking by the lake, his severe warning her off? Bianca and her cooling friendship, not allowing Heidi even to eat things in the store? Heidi, her being hurt, hosing the window?

12. The reaction, going to the bar, taking the wealthy boys back to the motel, the sexual advances, the drugs? Joe and his coming, the fight, ousting them?

13. Irene, the mother figure, the story of her son, her kindness towards Heidi? Her reaction to the disturbance during the night, asking her to leave, Heidi asking her about her son? Irene and her compassion, Heidi telling the truth about her mother, the phone call?

14. The farewell, Irene and her forgiveness and kindness? Joe and his coming, Heidi saying it was good that they met? Her previous talking about fate? Reconciliation with her mother, going back home with her mother? The completion of the somersault?

15. The character of Joe’s parents, the glimpses, their relationship, attitude towards their son? Richard, relationships, gay, the effect on Joe and his self-questioning? Stuart and the banter? Bianca and her family? Heidi relating well to Karl?

16. Heidi and her future, more stable, feet on the ground?

SIMON BIRCH

US, 1998, 114 minutes. Colour.
Ian Michael Smith, Joseph Mazzello, Ashley Judd, Oliver Pratt, David Strathairn, Jim Carrey, Dana Ivey.
Directed by: Mark Stephen Johnson.

In many ways, Simon Birch is like a junior odd couple, although Joe and Simon are good friends. The movie is adapted from a John Irving (World According to Garp, Hotel New Hampshire, Cider House Rules) novel, A Prayer for Owen Meany. Irving approved the adaptation.

The strength of the movie is the screen presence of Ian Michael Smith as Simon. He might be physically diminutive, but he makes a powerful impression. Joseph Mazzello (Radio Flyers, Shadowlands, Jurassic Park, River Wild) plays the straight man to Smith's comedy. There is a strong supporting adult cast with a quiet Jim Carrey introducing the movie as the adult Joe reminiscing.

With the religious atmosphere, the Sunday School and the Nativity Play and the ambiguous role of Reverend Russell as well as Simon seeing himself as an 'instrument of God', the movie has to be interpreted in religious tones. This is especially true of the 'orphan' experiences of the two boys, the harsh reality of Rebecca's death and the Reverend Russell's guilt. But, it is most present in Simon's self-giving in rescuing the children.

A great deal of American storytelling wears its heart on its sleeve which audiences from more reserved cultures find difficult to deal with. This is true of Simon Birch, an emotional movie, drawing on the feelings of its audience.

1. The appeal of the film? Sentiment? Heart on the sleeve? The need for some edge in the proceedings, the portrait of Simon, his friendships, his quests, his dying as a martyr for the others?

2. The 1960s, the town, the hospital, homes? Church? The river, the surrounding countryside?

3. The focus on Simon, his birth in 1952, his delivery, the smallest infant ever at the hospital? His growing up, short stature? His popularity with the other children, at school, at church? His own parents, their neglect? Their motivation for neglecting him? The incidents at Sunday school, the Reverend Russell, his always talking about himself, his fate, destiny, an instrument of God? His friendship with Joe? The baseball, the practice, Simon and his first hit, the tragedy of his killing Rebecca with his hit? Joe’s grief, Simon’s sorrow, their continuing friends? The irony of the baseball being stolen? Joe and Simon and the suspects, their breaking into the swimming coach’s office, their being caught? The community service, the church-run retreat? The Reverend Russell and his imposing the discipline? The Nativity play, Simon and his being the Baby Jesus? The upheaval? The Reverend Russell’s anger, barring him from the retreat?

4. Joe, his friendship with Simon, normal size? His relationship with his mother, home life? The mystery of his paternity? The friendship with Simon, at school, at the church? Mischief? The baseball? The grief at his mother’s death? Mr Baker being the suspect for his real father, Joe and Simon, the break-in, the community service at the retreat? Simon and the discovery of the baseball cards, the missing baseball, his relationship with Ben, Ben’s help, the fact that Russell had confessed to Joe? The return from the retreat, the bus accident, Simon and his energy, saving the children? His going to hospital – and his dying? Memories of Simon as a hero?

5. Critics and their comment that the fate of the disabled child was only to die for the sake of ‘normal’ children?

6. Rebecca, her love for Joe, her place in the house and the town, her reputation, her not revealing who Joe’s father was? Her relationship with Ben, his being the drama teacher, his clowning around, the armadillo? Rebecca and her care for Simon instead of his parents? At the baseball match, the shock of her sudden death?

7. Ben, drama, his friendliness towards Joe and Simon? His courting Rebecca, his grief at her death? The Nativity play? His helping Simon and Joe after the revelation that Reverend Russell was the father?

8. Reverend Russell, his place in the town, the pastor, at the church, Sunday school, his attitude towards Simon, his being aggravated by Simon’s sense of destiny and providence? Instrument of God? Reverend Russell and the play, his anger at Simon? The community service? The retreat, his banning Simon from the retreat? His telling the truth to Joe?

9. Ben, surrogate father, friendship with Simon and Joe, courting Rebecca? The adoption of Joe at the end? A good surrogate father?

10. The people in the town, Rebecca’s mother, her influence on Rebecca? The portrait of Simon’s parents and their neglect? The swimming coach and his office, his being the suspect? The other people at the church, at the school?

11. The framing of the screenplay, the adaptation from John Irving’s stories? Jim Carrey as the older Joe, his reminiscences?

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?

THE STEPFORD WIVES

US, 2004, 94 minutes, Colour.
Nicole Kidman, Matthew Broderick, Glenn Close, Bette Midler, Christopher Walken, Roger Bart, David Marshall Grant, Jon Lovetts, 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?

SOLOMON AND GAYNOR

UK, 1998, 104 minutes, Colour.
Ioan Gruffudd, Nia Roberts, Sue Jones Davies, William Thomas, Mark Lewis Jones, Maureen Lipman, David Horovitch.
Directed by Paul Morrison.

Solomon and Gaynor was an official nominee for the foreign language Oscars and made it to the five best film nominations. It is spoken in Welsh.

The film is the work of documentary-maker Paul Morrison who moved into feature films with Solomon and Gaynor and also made the delightful film about a family in London in 1960 and a passion for cricket, Wondrous Oblivion. Morrison also acts as a psychotherapist.

Ioan Gruffudd was at the beginning of his career, made an impact on television as Captain Horatio Hornblower and appeared in feature films including King Arthur. Maureen Lipman appears as his mother (in a role parallel to that she played in Polanski’s The Pianist).

The film recreates the world of Wales in 1911, the Jewish refugees into Wales and their being subjected to anti-Semitic attack. It shows life amongst the Welsh, the very strict and fundamentalist chapel people. The film is a Romeo and Juliet story, the love between a young man and a young woman from hostile families and the tragedy that ensues.

1. The impact of the film, human interest, love, tragedy, tears? The meeting of the Welsh Nationalists with the Jewish migrants to Wales? A Romeo and Juliet parallel story?

2. The re-creation of the world of 1911, the Welsh towns, the deprivations, the Welsh hills, the mines? Décor, costumes? The town and the shops, homes? The musical score and the Welsh themes?

3. The Romeo and Juliet expectations, the presentation of the families, the lovers, the secrecy, the persecution, tragedy and death?

4. The portrait of the Welsh, the long traditions, the family closeness, life in the towns, the work in the mines, the hard life, chapel and the devout fundamentalists, the severity, the minister? Family life? Meals, baths? Abstaining, sense of duty, the sanctification of the Sunday? The importance of the strikes and the repercussions?

5. The Jewish refugees, wanting to settle in Wales, to gain some freedom from persecution, opening shops, the conduct of the sales, the closing of the shop, the attack on the shop and its being burnt? The religious background, homes, meals, ceremonies?

6. The prejudice on each side of the divide? Each being isolated in its prejudice?

7. The portrait of Solomon, his place in the family, his skill as an accountant, wary of the people in Wales, his work, salesman? The encounter with Gaynor, the attraction to her? The samples, his deciding to make the dress for her? The gift? His double life, not telling her the truth? The number of visits, church, tea, hiding from her father? The sexual liaison? The harshness of her brother, the west? His not telling anyone, the invitation to meet her family, at home? The boys and his being warned off? Their hostility? His not knowing that Gaynor was pregnant?

8. Gaynor, her place in the family, the oldest of the children, her relationship with her parents, at home, at work? The meeting with Solomon, seeing him as Sam? The samples, the gift of the dress? The religious dimensions of her life, chapel, Sunday school? His visits, the sexual liaison, her pregnancy? The family reaction, the clash, seeking the truth, finding out about Solomon? His being denounced, her going away to have the child, the adoption?

9. The two sets of parents, their attitudes, suspicions? Crad, the big man, the strikes, his violence? The confrontation with Solomon?

10. Gaynor’s family, handling of the situation, her brother? The tensions, people going berserk? The attack on the Jewish shops? The burning it to the ground?

11. Gaynor and Solomon together, the plan to run away, their not being able to do this?

12. Gaynor, her sense of loneliness, her being sent off? The visiting Jews?

13. Solomon, at work, the fight with Crad, the injuries, the desperate journey, going through the snow, being united with Gaynor? Their love, her cradling him, his death? The birth of the child, its being given up for adoption?

14. A picture of an era, the historical perspective, religious prejudice, the nature of religion, love transcending prejudice?