NORDWAND/NORTH FACE

Germany, 2008, 121 minutes, Colour.
Benno Furmann, Florian Lukas, Johanna Wakalek, Ulrich Tukur.
Directed by Filipp Stolzl.

An impressive piece of film-making, a must for those who follow mountain climbing. However, it is an extraordinarily gruelling film to watch if you are caught up in the characters and their efforts to climb the north face of the Eiger. We share the physical energy and exertion of the climbers, the hardships in scaling rock faces, in danger of falls and avalanches, the changes in weather and the exposure to the freezing temperatures. The photography is most impressive, with sweeping vistas of the mountain and close-ups of the men and their climb.

While this is the main impetus of Nordwand, there is a very interesting historical context. The year is 1936. Some German mountaineers have died the previous year on the side of the Eiger and Swiss authorities want to ban any attempts to reach the summit. In Germany itself, Hitler has been pushing ideals for German youth and the Berlin Olympics are imminent. Government and the newspapers are eager for German climbers to conquer the Eiger. The film shows the cynical bravado of this kind of Nazi propaganda and, ultimately, the disillusionment with this kind of manipulation.

Two young men, expert and enthusiastic, are persuaded to attempt the feat. An Austrian team catches up with them. What follows is a detailed following of the climb and all its difficulties. And this, as has been said, is extremely gruelling to watch and share. It is a relief when the the action returns frequently to the warmth and comfort of the chalet. Benno Fuhrmann and Florian Lukas are very good as the two climbers who found their place in mountaineering history as the postscript to the film indicates.

The screenplay is also critical of the role that media plays in these events, hyping stories for headlines and less interested in the human problems, noting that only success or tragedy are front-page-worthy.

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1.A piece of history? Re-creation of the Nazi era? The mountain-climbing genre? The experience of climbing? The Eiger? Achievement?

2.A gruelling physical experience, identifying with the endurance, the pain, the suffering, death?

3.Berlin 1936, the newsreels about the attempts to conquer the Eiger, the deaths of the climbers, the Swiss ban on climbing? The newspaper, the chiefs and the discussions about the Olympic Games, the news? The Swiss sequences, the chalet and warmth? The Eiger, the visuals, the physical reality, the moods and weather, rock and snow? The tunnel and the train? The musical score?

4.The build-up to the 1936 Olympics, Hitler’s intentions, achievement, the glory of the Third Reich, German heroes and youth? Luise and her work, making the coffee, sitting in as secretary, sharing her memories? Her final disillusionment with the newspapermen, leaving for the United States? A symbol of the disillusionment with Nazism?

5.Berlin, the discussions, Luise and the coffee, her work as a photographer, buying the camera? Listening to the discussions, her love for Toni? The cynical reporters and wanting headlines?

6.The journalist and Luise going to Switzerland, in the comfort of the hotel, watching the climb, photographing the crowds, the phone stories to Berlin, the journalist wanting either heroism or a tragedy? His final talk to Luise and his offering an apology?

7.The people in Switzerland, watching? The various types, nationalities? The background of Leni Riefenstahl and her films about mountains? The Riefenstahl-type character? The women and their admiration? The men and their scepticism?

8.The picture of Toni and Andi, in the brigade, their love for the mountains, friendship since childhood, with Luise, the glimpses of them climbing mountains, their skills, the swinging from ledge to ledge? Their work in the brigade, cleaning the latrines? The dance, meeting Luise, her suggestion about the Eiger? Toni and his reaction, not wanting to go, Andi and his persistence? Toni’s change of heart? Their asking for leave of absence? Their cycling to the Eiger?

9.The plans, the various teams? The Austrians? The personalities? Toni as leader, Andi and his energy?

10.The early morning departure, their progress, the Austrians following, the Austrian being hit by the rock and being injured? His wanting to go on? Joining with Toni and Andi?

11.The photography of the mountain sequences, the climb, the physical endurance, the sweep of the cameras, the close-ups, the attention to detail, the difficulties, equipment, ropes, swinging, the bivouacs?

12.The Austrians, joining up, their efforts, Willi and his getting weaker, falling, the injuries?

13.The decision about going down, Andi wanting to go on? Toni and his conscience? Lifting Willi down, the endurance, Andi’s fall and cutting the rope? The deaths of the Austrians?

14.Toni, the cold, losing his glove, hanging, Luise going up the tunnel, enlisting the help of the driver? The night vigil? The rescuers and their refusal, the morning and their change of heart, the rescue attempts, the length of the rope? Luise and her presence, encouraging Toni, his death?

15.Luise, going to New York, photographing the black trumpeter? A symbol of the disillusionment with Nazism?

16.The aftermath, the desire to conquer Eiger, seeing it as a Swiss problem? The Germans and Austrians following Toni and Andi’s route, the conquering of the Eiger?

17.The value of this kind of enterprise? The energy driving the climbers, endurance? Motivations?

INKHEART

UK, 2008, 106 minutes, Colour.
Brendan Fraser, Paul Bettany, Helen Mirren, Eliza Bennett, Sienna Guillory, Jamie Forman, Andy Serkis, Rafi Gavron, Jim Broadbent.
Directed by Iain Softley.

Another fantasy adventure based on a popular series of books, this time written by the German novelist, Cornelia Funke. The rather odd fantasy film, The Thief Lord, was also adapted from one of her books.

Inkheart does not have the epic scope of the very high concept series that we have become accustomed to. However, it is an imaginative adventure that should please those who want their fantasies to explore the confrontations between good and evil with a little magic.

The special feature of Inkheart is that it is a story about stories, about words and about the wonder of reading stories aloud. Books are treasures. However, some readers, we are told at the beginning, have the power to make the stories they read come alive. While this can be something wonderful, it can also lead to tragedies. When Mo, who is known in the fantasy world as Silvertongue, reads, his wife disappears into the story and a character named Dustfinger comes out, to wander the world in the hope of somebody reading the book so that he can go back home.

Mo (played by Brendan Fraser in his genial, smiling adventurer style) searches for years but keeping his powers (and hers) from his young daughter, Meggie (Eliza Bennett). The film takes up the story as Dustfinger (a fine and interesting performance from Paul Bettany) confronts Mo and Mo at last finds a copy of Inkheart.

What follows is an unusual blend of action in the present world (with cars, bookshops, highways in Italy) and the magical world of the book. The main trouble is that the villain of the book now rules the castle with black-clad henchman with guns and is determined that a special reader will read the chapters of the book on the monstrous Shadow which will destroy any opposition and he will have absolute power. He is played with sneering menace by Andy Serkis.

Also along for the adventure is the real-life author of the book, Fenoglio (Jim Broadbent) who wishes he actually lived in the fantasy land and great aunt Elinor (Helen Mirren in grande dame mode).

There are some good special effects especially in the finale and the menacing Shadow which lead to the happy conclusion of what is a fairly modest contemporary fairytale.

1.A fantasy, adaptation of a popular book, a film about books, words, reading? The title? Imagination?

2.The blend of the real and contemporary with fantasy? The effect? Moving from one world to the other?

3.The real world of home, Switzerland, the village, the shop, cars, Italy, Elinor’s house, Elassio and the author’s house? The roads and highways? Audiences identifying with the realism?

4.The fantasy world, the Red Riding Hood, Dustfinger and his world, the castle, Capricorn and his henchmen, the monsters, the kitchen? The musical score?

5.The introduction and the voice-over about readers, bringing stories alive? Mo and his being Silver Tongue? The story of Red Riding Hood, not wanting to read, not wanting Meggie to read? Dustfinger coming out of the story, his wife going into the story world? His search for the book, nine years?

6.Dustfinger and his talents of fire, seeing him in action, in the village, confronting Mo? The flashbacks to his wife beckoning him? His plea to Mo? Following him to the castle, in prison? Going to the author’s house, meeting up with Farid? The fights in the palace, the finale – and Mo releasing him? Going back home, reunited with his wife?

7.Elinor, the grand aunt, her house, her books, Mo mending books, the books as her treasures, the Persian manuscript? Her manner, brusque? The invasion by Capricorn’s henchmen, the destruction of the books? Being taken to the castle, the escape, her decision to go home again, not taking the train? On the bike, returning to the castle? Riding in on the charger for rescue?

8.The author, his living in Italy, thinking they had come for his autograph, listening to the explanations about his books coming alive, searching for a manuscript, finding it? Capricorn’s henchmen taking him? In prison with the group? His observations, his delight in seeing his characters alive? His desire to go into this world? The confrontation with Capricorn? The finale, his helping Meggie write the change in the story, her reading it aloud? Getting his wish to go into the fantasy world?

9.Farid, his story, his appearing, friendship with Meggie, discussions with Dustfinger and wanting to learn his skills? His clothes, getting ordinary clothes, climbing the walls and being able to enter into the castle? Helping Dustfinger setting fire to the castle? The end, not wanting to go back into his book, a world of slaves? Staying, his attraction to Meggie?

10.Mo, his personality, a loving father, his skills? His secrets? Meggie aged twelve, travelling to Switzerland, his search for the book, hearing the voices, discovering the manuscript? Going to see Elinor? The capture, in prison, his heroics, searching for his wife, Meggie and the dangers? Encouraging her in her reading? His promise to Dustfinger? The reconciliation with wife and family?

11.Resa, at home with Mo and Meggie, her disappearance? Her being a kitchen maid, mute, working, the animal getting the key, her being imprisoned in the ropes? The rescue? Her joy in seeing Meggie?

12.The ferret, the range of creatures, Toto coming in from The Wizard of Oz? Their menace, the creatures from literature? Their disappearance?

13.Capricorn as evil, his henchmen, the guns? His wanting power, wanting the Shadow to destroy his enemies? Invoking the Shadow? Finally destroyed by the Shadow?

14.The climax, Toto, Meggie and her reading, the Shadow self-destructing? Changing the story?

15.The emphasis on words, books and their power, literature and their classics, the books coming alive?

16.The resolution – and the happy ending of a contemporary fairy tale?

PROFILE FOR MURDER

Canada, 1997, 95 minutes, Colour.
Lance Henrickson, Joan Severence, Jeff Wincott, Ryan Michael.
Directed by David Winning.

Profile for Murder is a by-the-numbers sex murder mystery. It is a Canadian production, from David Winning, a prolific director of film and television in Canada. It stars Lance Henrickson in an offbeat role as a wealthy businessman who is suspected of serial murders. Joan Severence, who has appeared in a number of dramas which depend on sex and melodrama, is a psychologist who gets involved with Henrickson. Jeff Wincott and Ryan Michael play detectives who are in love with the psychologist.

The film has its graphic moments in presenting the victims and the sexual encounters with the businessman. However, there is a final twist at the end which seems rather unbelievable but at least gives some kind of difference to the routine aspects of the plot.

1.Popular kind of murder mystery? The appeal in terms of characters, plot, steaminess, twists?

2.The Seattle settings, the city, the wealthy background, apartments and parties? The police precinct? Authentic? Musical score?

3.The title, the focus on Hanna and her work, the serial killer, the detectives?

4.Adrian Cross, a sleazy type, his legal background, his business success? The parties, his picking up women, the sexual encounters, his diary? Being under suspicion, arrested, the detectives and police treatment of him? Hanna and the interviews, his taking control, leading the discussions? The effect on Hanna? His being released? The suspicions, the confrontation with Hanna? The explosion, his seeming death? The irony that he was not the killer? Sending the poetry to Hanna?

5.Hanna, her background, competence? The failure of her marriage, the relationship with Andy, the tensions? Being employed by Michael? The visits, her being off-guard with Cross? The discussions? At home, listening to the interviews on tape, her sexual imagination? Her wanting to go off the case? The further discussions with Cross? His inviting her to the benefit, his large donation? The seduction, on the boat? The poetry? The diary? The irony of his not being the killer? The confrontation in the room, Michael and Andy? Her future - and the book of poetry?

6.The detectives: Andy, the relationship with Hanna, his suspicions of Cross, his treatment of him? Michael, in charge, his love for Hanna? Their discussions? Andy and his going to the victim’s mother, finding out more information?

7.The final confrontation, the irony that Michael was the killer – believable or not? His reasons, rivalry with Cross at university, with women? The confrontation and his death?

8.The film as a murder mystery, sexual melodrama – with the touch of the potboiler?

 

BROTHERS IN LAW

UK, 1957, 94 minutes, Black and white.
Richard Attenborough, Ian Carmichael, Terry-Thomas?, Jill Adams, Miles Malleson, Raymond Huntly, Eric Barker, Nicholas Parsons, John Le Mesurier, Irene Handl, Leslie Phillips.
Directed by Roy Boulting.

Brothers in Law is based on a popular novel by lawyer Henry Cecil. It was produced by the Boulting Brothers and directed by Roy Boulting. The Boultings made a number of very popular comedies in the 50s and 60s, taking up current social issues: Private’s Progress, Heavens Above, I’m All Right, Jack.

Many of these films starred Ian Carmichael as does this one. He is perfect at playing a genial character who at times is a silly ass type but who has some kind of integrity. Terry-Thomas?, in one of his earlier popular roles, is a self-confident villain who is able to advise his lawyer how to win his case. Richard Attenborough, who had worked for the Boultings especially in the version of Graham Greene’s Brighton Rock, is Carmichael’s roommate. Jill Adams is the love interest who has rented the room upstairs in the block of flats. A lot of character actors appear: Miles Malleson as the head of the legal firm, Raymond Huntly as a prosecutor, Nicholas Parsons as a friend who loves cars, John Le Mesurier as a judge – who has a very funny scene instructing Richard Attenborough to try to get information from Irene Handl who continues to answer in the vaguest of possibilities.

A typical film of the 1950s from Britain, a comedy of life in England at the time.

1.The popularity of this kind of film in its time? Popularity later?

2.Black and white photography, London settings, the law courts, flats, bars? The visit to the countryside? Authentic atmosphere? The musical score?

3.The title, Henry and Roger as vying for the attentions of Sally, but being comrades in their law work?

4.Roger, his vicar father, his doting mother? Their sacrifices to get him into the university? His years of study, his graduation? His not being particularly bright? The connection with his reputable uncle? The connections for the firm? His approaching Mr Grimes, Mr Grimes and his absentmindedness, Roger saving him from being run over? Grimes giving him the job as a student lawyer? Giving him the briefs, leaving him in the court? Roger and his office, sharing rooms with Henry? Advice from Henry? The sympathetic judge guiding him with the answers through the case? His hopes, research? His getting a brief from Sally’s father? His loss of the case because of the client not turning up? His watching Henry in court? The discovery of Sally, the attraction, taking her out for a meal? The rivalry with Henry? Roger and his going down into the country, Henry losing his wig, Roger having to conduct the case, his interrupting the judge because his mother was on the jury, the judge and his rebuke, his later apology? His shrewdness in the cross-examination, the prosecuting lawyer offering compromise? Everyone applauding? An interesting character – but caught when Sally drove off with their friend Charles?

5.Henry, his legal background, friendship with Roger, sharing the flat? His scene in court with the judge and trying to get answers out of the reluctant woman? His attraction towards Sally, keeping her a secret from Roger? Roger’s one-upmanship? Going to the country, Henry losing his wig, late for court? With Roger watching Charles drive off with Sally?

6.The character actors from the English screen and the pleasant contributions to the film: Miles Malleson and the absentminded lawyer giving work to his students? Raymond Huntly as the sardonic prosecutor? Eric Barker as the assistant, keeping the office running, giving advice in the courts? John Le Mesurier as the judge – and the farce of the golf match with Roger and Henry? Irene Handl as the woman in the dock? Olive Sloan as the woman wanting a divorce? Nicholas Parsons as Charles?

7.The ingredients for popular English comedy, English humour? An echo of life in London in the 50s?

 

 

 

THE CURIOUS CASE OF BENJAMIN BUTTON

US, 2008, 165 minutes, Colour.
Brad Pitt, Cate Blanchett, Julia Ormond, Taraji P. Henson, Mahershalalhashbaz Ali, Jason Flemyng, Tilda Swinton, Elias Koteas, Jared Harris, Elle Fanning.
Directed by David Fincher.

This is quite a film, always interesting and entertaining through its almost 3 hour running time. It has been written by Eric Roth (who won an Oscar for his screenplay for Forrest Gump – which has many similarities with this one) and is directed by David Fincher, a director with a high and offbeat imagination and visual style, especially in his two highly influential films Se7en and Fight Club, both of which starred Brad Pitt.

Brad Pitt stars again. It is quite a brave and demanding performance from him. He is matched by Cate Blanchett.

Most people will know that this 'curious case', from a short story by F. Scott Fitzgerald, is about a baby who is born as an old man and who lives backwards, appearing younger and younger as the decades go on, but inside he is old from birth and will reverse to baby mentality when he dies. With some special effect work, the younger (older) Benjamin looks like an old man but is short in stature, gradually changing to the Brad Pitt we know. The earlier scenes imagine what Pitt may look like as he ages; the later scenes remind us of what he has looked like in past films. Pitt also has to speak the voiceover and make it convincing and moving, which he does. It is a bravura performance.

Cate Blanchett as Daisy, on the other hand, appears at age 80 at the beginning of the film. She is in hospital, dying, in New Orleans at the time of Hurricane Katrina. She wants her daughter, Caroline (Julia Ormond) to read Benjamin's diary aloud and to learn about him. Daisy also tells a magic realism story of a clockmaker in New Orleans who creates a grand clock for the railway station – but it moves backwards, the clockmaker's reminder that we want to recapture life and change it (as he and his wife felt when their son went to World War I and was killed). This fable enables us to enter into Benjamin's life and journey as he is born in New Orleans on the night World War I ends.

As with Forrest Gump, Eric Roth's screenplay tells the story of an unusual man who lives through crucial events in American 20th century history: the post-war 20s, sailing in a tugboat through the 30s, commissioned to fight in World War II in the 40s. The visual style of these decades images the films of the period (with a very funny recurring image of a man who was struck by lightning seven times done in silent film style). The photography becomes brighter during the 1960s and onwards as Benjamin returns home, has a tumultuous then happy relationship with Daisy but has to face the reality of his growing younger as she grows older and the question of whether she will be able to mother Caroline as well as himself.

There are some interesting interludes throughout the film: Benjamin's father (Jason Flemyng) abandoning his son but wanting to be with him as he grows up, Queenie and Tizzy (Taraji P. Henson and Mahershalalhashbaz Ali) caring for the ugly baby and bringing him up as their son, episodes on the tugboat with the hard-drinking, tatooed womanising captain Mike (Jared Harris), a meeting with the wife of a British diplomat in snowbound Russia in the late 30s (Tilda Swinton) with an interlude about her swimming the English Channel, a performance of Carousel on Broadway. And, all the time, Daisy is getting weaker, Caroline is surprised at what she is reading and Hurricane Katrina is turning and heading straight towards New Orleans.

At the halfway point of his life, Benjamin has the opportunity of living the life of Gatsby – and the heroine's name is Scott Fitzgerald's favoured name, Daisy. Benjamin is something of a variation on the Gatsby story, coming from nowhere and prospering. But Benjamin is a good man, a reverse Everyman of America's 20th century. And there is plenty to reflect on in terms of the meaning of life and death, grief and loss, love and care.

1.The acclaim for the film, awards? The career of the director? The career of the screenwriter? The strong cast? An F. Scott Fitzgerald short story?

2.A story written in the 20s, transposed for the 21st century? The 20th century American history? The visuals for the past, colour, silent film techniques? Sets? The contrast with the growing realism in the 20th and 21st centuries? The background of Hurricane Katrina.

3.The story and the challenge to the imagination, living backwards? Differences, others, age, loss and letting go?

4.The prologue, the story of the clock, Mr Gateaux, his wife, his painstaking work on the clock, his son going to war, his son’s death, the grief, the installation of the clock, Teddy Roosevelt and others being present? The clock going backward? His speech about the reversal of time – and the visualising of the reversal with his son coming back from the war? Mr Gateaux’s disappearance, in the rowboat? The clock changed in 2003? Digital? The old clock stored – and the Katrina floods coming in?

5.The setting of Hurricane Katrina, New Orleans and its destruction in 2005? The TV news, the threats, the decisions to be made on evacuation?

6.Daisy and her dying, in her eighties, the makeup for Cate Blanchett, convincing? Her story of Mr Gateaux? Caroline tending her mother in her death, her mother’s illness, the work of the nurses, relief from the pain? Daisy talking, the enigma of Caroline’s life and her not fulfilling her mother’s hopes? Getting the diary? The continual return throughout the film to the hospital scenes, enabling chapters of the diary to be inserted?

7.Benjamin’s story, his diary, the voice-over, the tone? The linear time from 1918 to 2005 contrasting with Benjamin’s life going backwards?

8.The birth scene, the end of the war, Thomas, his wife’s death, her asking for safety for the child, his revulsion towards the baby, running, the police pursuit, leaving the baby with the money on the steps? His later meetings with Benjamin, talking with him, his company, drinking? Finally telling him the truth? Taking him to the house, the pictures, Thomas’s story about meeting Benjamin’s mother and their marriage? The story of going to the lake for the sunrise, Thomas’s illness, Benjamin taking him to watch the sun? His death, the funeral? Benjamin giving his daughter the name Caroline?

9.Queenie, Tizzy? Their talking, discovery of the baby? Their strong characters, their work in the house, the detail of the work in the house, meals, cleaning, tidying? The elderly and their life in the home? Queenie and Tizzy and their accepting of the old baby, of a white baby? Their life in the home, their continued care, Queenie becoming Benjamin’s mother? Tizzy and his reciting of books, Benjamin’s education? The grandmother and the other residents? Daisy coming to visit? The piano lessons for Benjamin? Benjamin’s editorial comments on the old people, on Queenie and Tizzy, on the effect on his life?

10.The gallery of old people, the humour, foibles, respect for them – and the humorous insert of the man struck by lightning?

11.Benjamin as a little old man, the photographic techniques and the makeup for Brad Pitt to appear elderly? His life inside the house, the various visitors, the piano lessons, getting older and going out? His encounter with Captain Mike, sitting on the docks, being invited to work, his zest for working on the boat, part of the crew, always volunteering? His friendship with Mike, his being taken out drinking, the visit to the brothel, the effect, the women? Mike as a character, hard-drinking, the artistry of the tattoos, his relationship with women? Benjamin asking him to take himself and Daisy out on the boat on the Sunday trip? Their seeing the liner? Benjamin and his leaving home, on the boat, travelling the world, the experience, Russia? The outbreak of war, Pearl Harbor, Roosevelt’s speech? Mike and the boat going into service? Benjamin naming the crew, their personalities – and the twins fighting on land? Mike and his giving the option for the crew to stay for the war or not? The discovery of the bodies in the water, the submarine emerging, the boat crashing into it, the deaths? Benjamin and his survival – and the crewman trusting him so much to give him his money to send to his wife?

12.Benjamin and Daisy, the young Daisy, their friendship, her instinctive understanding of him, the outing on the boat, Benjamin leaving, the range of postcards he sent?

13.Benjamin, his life at sea, the ports, understanding the world? The time in Murmansk, the winter? Seeing Elizabeth and her husband, his role as a diplomat, Elizabeth expressing disappointment at their not going to Beijing? Benjamin discovering her in the night, their talking, the tea, sharing the stories? Elizabeth and the affair, her strict rules? Her impersonal note and her departure? Her story about swimming the Channel, visualising it, her stopping – and Benjamin seeing her on TV later, swimming the Channel at sixty-eight?

14.The overview of the 1920s, 30s and the war period? The post-war period?

15.Benjamin’s return, love for Queenie, Tizzy’s death? His work with the elderly? Daisy’s arrival? Her skill in dancing, going to New York, Daisy’s life, the visualising of the auditions, her career, visit to New Orleans, sharing with Benjamin, grown up, their going out, her dance movements, the sexual advance, Benjamin’s refusal? His later going to New York, seeing her perform in Carousel? The flowers, the aftermath, the party, her relationship with David, on the street, her leaving him? The effect on Benjamin? Her going to Paris?

16.Benjamin’s analysis of the chain of events leading to Daisy’s accident, the detail and the visualising of all the people involved, the accident, Daisy in hospital, her sending him away, her self-pity? The years passing? Her return?

17.Benjamin and his father, the different life, the yacht, women, his age and appearance? Daisy’s return, their love, sharing a life, the enjoyment (Gatsby-like)? Their talking, discussions, buying the home, her pregnancy, the wariness about what the baby would be like, the birth, all well? Daisy and her teaching children in the ballet school?

18.Caroline, the revelation of Benjamin as her father, the effect, her needing time, the urgency of Hurricane Katrina, the discussions with her mother?

19.Daisy continuing the story, the retrospect, the revelation, her sad life, her commitment to Benjamin?

20.Benjamin’s regression, his love, the decision to leave, wandering the world, travelling through India? Sending the postcards for Caroline? Daisy and her grief, marrying, running the school, Benjamin’s return, the night with him?

21.The police, the diary, Benjamin as a child, living abandoned, Daisy caring for him, the piano lessons, the years passing, her mothering him, his continual regression as a child, an infant, a baby? Her holding him – and the eyes of recognition at the end?

22.A portrait of two lives, young to old, old to young, the skill of Brad Pitt and Cate Blanchett at each phase of their lives?

23.A what if, imaginative film? On life and death, grief and loss, joy and a life well lived?

TWILIGHT

US, 2008, 122 minutes, Colour.
Kristen Stewart, Robert Pattinson, Billie Burke, Ashley Greene, Nikki Reed, Jackson Rathbone, Peter Facinelli.
Directed by Catherine Hardwicke.

Not being – by a long shot – part of the demographic for Twilight, I have to defer to the teenage girls who have read Stephanie Meyers' books, think Robert Pattinson is adorable and have flocked to see the film.

The girls will tell you that this is a vampire film. A vampire film? It looks a lot like a high school film. And it is.

So, much of the expected characters and events in a high school is here again (although the Indian lad explains that he has to go to school on the reservation, still in 2008?) . This time we are in Forks, Washington state, where it is cold, surrounded by forests and mountains, but the students seem more agreeable than in most high schools. Although there is that strange group that comes into the cafeteria, the Cullen group, about five of them all cared for by the nice doctor of the town. Yes, they are the vampires.

Twilight does not rely on a lot of the traditional horror-movie lore about vampires. Yes, the are immortal and, yes, they don't sleep or eat. They are attracted by blood and there are some renegade types who kill humans (well off-screen) but the Cullens have opted for harmonious living with humans and control their appetites for blood and limit it to animals. Edward (Pattinson) is the soulful, Byronic hero (who has graduated again and again over the years) who knows he is a predator but does not want to destroy anyone. That is why he makes it so hard for Bella (a vigorous and sympathetic Kristen Stewart) who has moved back from Arizona to stay with her police chief Dad in the town where she originally grew up, to like him.

Bella is put off by Edward's aloofness (and his wanting to change courses instead of sitting next to her in the lab). But, the attraction is there, especially when he uses his powers to save her from being injured by an out-of-control car. Just as Edward says 'no' to killing people or vampirising them, the youngsters' falling in love is particularly chaste with Edward, deeply in love, saying no to anything further. Interesting, in view of other rather open and permissive lifestyles shown in a number of American high school movies (except those High School movies), that Twilight is so popular.

The action has some lyrical sequences with Edward taking Bella on flying, clambering and swooping flights through the air and trees. Vampiric powers are shown to be an advantage as well for the family's playing baseball, which they can do unobserved during thunder and lightning storms.

There is a crisis for Bella and Edward with the rogue vampires – and Bella has to reflect on whether she would be happier living her quiet life in Forks or being a vampire with Edward forever. We will find out more because the final shot indicates sequel (and the publicists indicate that it is in pre-production).

Director Catherine Hardwicke, formerly a set designer, has a talent for stories about teenage girls with Thirteen and her Gospel film, The Nativity Story.

1.The niche audience for this film, readers of the novel, teenagers, teenage girls? Well done for this audience? PG13 horror? Romance?

2.The popularity of the novel, the series? The adaptation?

3.The opening in Arizona, the transition to Washington State? The town of Forks? The house, the streets, the school, the forests? The vampires’ home? The musical score?

4.The title, the reference to vampires? The vampire tradition, vampire films? The difference with this film? Immortals, preying on animals (and the prologue with the deer)? The vampires and their control? The contrast with the killer vampires? The isolated life, in North America, Washington State? Normal but remote? Their kindness, rescuing the dying? The treatment of the themes, the lack of blood, the no to sex?

5.Bella and the voice-over, her comments about death, dying for someone else? Her mother and Phil? Going to Washington, going to her father, his police work, quiet? Settling in, introverted, the gift of the truck, his Indian friends? Her old memories? School, the students, Michael and Jessica and their friendliness, the Chinese student, the photographer for the paper? Ensuring her privacy?

6.The vampire family, their appearance, in the cafeteria, the explanation of their background, Cullen and his being the father figure? The doctor at the hospital? The flashback and his treatment of Edward in 1918? The opening hunt, the deer? Their ordinariness in school? The lavish home? The bonds in the family?

7.Edward and his look, his manner, aloofness in the laboratory, wanting to change course, his absence, Bella’s irritation with him? Yet the attraction? His saving Bella from the car accident? Not answering her questions about how he did it, the atmosphere of mystery? Their further talking, his opening up, the bond, going into the forest, the explanation of his life?

8.The special effects for the vampire exhilaration, movement, flying, climbing?

9.The effect on Bella, her love for Edward, talking and sharing, the visit to his family, their preparing the Italian food, playing baseball? The intervention of the killer vampires? The crisis, Edward taking her to her father, her packing, her plan, her hurting her father with her comments, the pursuit, the killer vampire and the phone call, the information through Victoria, in Phoenix, the ballet school, the video of mother and daughter, the fight with the vampire, the loss of blood and the breaking of her leg, Edward to the rescue, in hospital?

10.Edward and his family, inviting Bella, their allowing it, Rosalie and her disapproval? The change in Edward, becoming more human and humane, helping Bella, fighting to save her, the vigil in the hospital?

11.Bella’s father, efficient at police work, silent, the murder situation and his investigation, the unhealthy meals, the meeting with Edward, Bella’s leaving, the end? Her return to the town?

12.The town, the Indian man, his son and his friendship with Bella, the range of students at school?

13.The prom, Bella and her injured leg, Edward taking her, dancing?

14.Bella and her age, love, the possibility of her allowing herself to become a vampire and live eternally with Edward?

15.Rosalie, the final images – and the build-up for a sequel?

16.A teen film, love, sexuality, commitment?

QUARANTINE

US, 2008, 89 minutes, Colour.
Jennifer Carpenter, Steve Harris, Jay Hernandez, Johnathon Schaech, Columbus Short, Rade Serbedzija, Greg Germann, Dennis O’Hare?.
Directed by Erick John Dowdle.

This is scary stuff, especially for those who have not seen the original Spanish film, Rec, which was in cinemas less than a year before this remake. Rec was a brisk 80 minutes or so. Quarantine is a little longer, mainly because of a stronger development of the opening sequences, setting the scene with a television reporter following a firefighting squad. Otherwise, the remake follows the original quite faithfully while taking the opportunity to make a few adjustments.

The Blair Witch Project successfully persuaded many film-makers that they could make their films more 'realistic' and 'atmospheric' if they used hand-held cameras to place the audience in the middle of the action. Digital cameras have developed this capacity since then – seen to effect in 2008 in the monster thriller Cloverfield and in George A Romero's latest zombie episode, Diary of the Dead.

The premiss of Rec and Quarantine is quite straightforward: firefighters and police (with the television reporter and her cameraman in tow) are called to an apartment where some of the residents are sick. Almost immediately they are closed in by the authorities without explanation (which does come later so that audiences are satisfied that there is a reason for the turmoil and the fear, reminiscent of 28 Days Later and 28 Weeks Later). With the hand-held camera and the action taking place within the building, there is a claustrophobic effect, the audience knowing something of what the residents are feeling.

This is why the film is so effective. This could happen in our terrorism-anguished age. Authorities could seal up a building, trapping police, firefighters and residents. People in panic do behave like this. Faced with imminent and ugly death from a mysterious infection, how would we react? And it all takes place overnight, more and more in the dark.

The device of having a TV camera operator filming all the time, with interruptions, threats to himself and his aiding his more and more hysterical reporter adds to the tension.

In terms of classification, the UK censors gave it an 18, maybe because of its 'realism' but it is far more real and challenging than many of the hyped-up horror and violent action shows that receive a 15 classification.

1.An effect horror film? Terror? Audiences identifying with the situation and characters? Plausibility? Real?

2.The adaptation of the original Spanish film, staying close to the original?

3.The time span, just one night?

4.The camerawork, hand-held, the focus with the television cameraman, his framing, light and dark, the night vision? The editing of the film? Audiences identifying with the point of view? The focus and its limitations? The atmospheric score?

5.Angela and her TV personality, her program, saying her lines, fluffing them? Her work with Scott behind the camera? She on camera throughout the film? Hearing his voice, sometimes glimpsing him, reflection? The credibility of his camerawork in the realism of the plot?

6.The introduction, Angela and her program, her being with the firemen, following them around?

7.At the firemen’s centre, Fletcher and Jake, the tour, the realism of the offices, the men, the meals, locker rooms, the talk, the chatty atmosphere, the situations? On the ready? Their being called out?

8.The apartment block, going in, being locked in? Only glimpses out the windows and the doors to the outer world? The darkness, the manager, the people gathering on the ground floor? The woman, her illness, the infection, her disfigurement? Her attack, her death? The nature of the infection? The mother and child, the story of the dog, the vet explaining rabies? The police in the apartment block?

9.The clash between the police and the firemen? The policeman in charge? The having to cope, the fears, the uncertainties, going around the building in the dark, the searching?

10.Being quarantined, the building being locked, the windows blocked in? The residents and their panic, fears of death, the various voices? The information from outside? Watching the TV – then losing it? The inspectors coming in, their protective suits, the search, the tests – and the infections?

11.The building, the floors, the elevator, the layout, the search, the variety of people, people hiding?

12.The mother and child, the story, the dog, the vet and his opinions, the rabid rabies, the blame – and the child killing its mother?

13.The vet, common sense, his help? The manager and his trying to find an alternate exit? The group trying to exit the building, their failure? The businessman, his being drunk, surly, death in the elevator? The Somali couple and their not being able to speak English? The rest of the residents and their being ordinary? Dealing with the situation, together, in the dark, the various infections, rabid and their deaths?

14.The nature of the rabies, the effect of the deaths, the residents turning into zombies, the attacks?

15.The policeman, his authority, the panic? The exits? His being infected? Fletcher and his infection and death? Jake, his help, finally being taken?

16.Angela and Scott, Angela becoming more and more terrified, panic? Their survival? The camera, going up the stairs, the night vision? The attic? Angela feeling trapped? The discovery of the clippings, the lab, the chemicals, the conspiracy, the apocalyptic tone? The glimpses of the creature?

17.The tension in the dark, Scott and his holding on, Angela and her fears, Scott’s death? The finale with Angela being dragged away?

18.How well did the genre work, its visual style, the plausibility of the plot and characters? Terror and atmosphere?

WALLANDER: ONE STEP BEHIND

UK, 2008, 90 minutes, Colour.
Kenneth Branagh, Nicholas Hoult.
Directed by Philip Martin.

The Wallander series is based on novels by Henning Mankell. They were made into Swedish telemovies and films but this is a British production with Kenneth Branagh as Minkle’s detective, Kurt Wallander.

Branagh’s Wallander is a morose man, full of stress, overworked, not noticing people around him, feeling a failure because of his lack of support for his daughter in the past, the separation from his wife, the death of his partner who claimed him as his best friend?

The film focuses on a killer murdering a group of young people celebrating midsummer in the woods. It appears that the detective friend of Wallander was investigating, but he too is killed. Wallander follows various clues and discovers that the killer is a transvestite with whom his partner was having a relationship. The film builds up to detection, a final confrontation when the killer has Wallander’s daughter as a hostage.

The film is effective as a murder mystery and an investigation. However, with Branagh playing Wallander as if he were playing Shakespeare, the performance is intense, the character study is very strong.

Nicholas Hoult (About a Boy) is the villain.

1.The popularity of Henning Mankell’s novels? Kurt Wallander as a detective? Adaptation to the small screen? By a British company, in English? Swedish locations?

2.The atmosphere of the film, Sweden, morbid and morose? The city, the towns, homes, islands, the countryside? The musical score?

3.The strength of the murder mystery, the initial killings? The investigations, the discoveries, the clues? Tracking down the killer in Copenhagen? Following further clues, the connection with the post, the final confrontation?

4.The motivations for the murders: the character of Louise, the transvestite? The relationship with Svedburg? Feeling put down and hidden? Getting Svedburg’s attention by killing the group in the forest, making Svedburg investigate, killing Svedburg? His escape from Wallander in the club? The further murders? His own secrets, invading other people’s secrets through the post? The murders on the beach? The postcard from Linda? Holding her hostage?

5.The character of Wallander: his age, experience, his separation from his wife and her remarriage? Alienation from his daughter, the reconciliation? His appearance, stubble, dishevelled, not washing? His team, Martinsson, the woman on the team? His superior officers? His relationship with Svedburg, the opening, the numberplates, his weariness? Inability to hear Svedburg? The impact of his death? Discovering the body? The investigations, the frantic mother? Discovering Svedburg was investigating? His room, the clues, the photo and the letter? Wallander and the discussions with his cousin at the hospital, with his professor cousin (and having to jog)? The tracking down of Louise? Discovering the young woman who was ill and not murdered? The interrogations, the discussions about his daughter, her perceiving that Svedburg was gay? Pursuing her to the island? Their talks, her family, the impact of her death? The connection with the post? The final confrontation, the shooting? The funeral and the sadness of the group at Svedburg’s burial?

6.The team, Martinsson and his youth? The woman on the team and her collaboration, concern for Wallander, urging him to rest?

7.The incidental characters and their contribution: Svedburg’s cousin at the hospital and the information, the professor and his arrogance, jogging? Anna and her kindness at the restaurant, giving him the room to rest? The postman giving him the information? The manager of the boats?

8.Issa, her suicide attempts, alienation from her family? The hospital, the flight, her discussing things with Wallander, her death?

9.Linda, family, her relationship with her father, discussing family matters, her concern about his health, going to get his shirt, hostage?

10.Satisfying ingredients for a murder mystery, its solution – as well as a character study?

DOUBT

US, 2008, 104 minutes, Colour.
Meryl Streep, Philip Seymour Hoffman, Amy Adams, Viola Davis.
Directed by John Patrick Shanley.

Doubt is a film of strong Catholic interest.

It can be viewed in the light of the current Church experience of sexual abuse by clergy. However, this is not the central issue of the film. Doubt is a film about Church structures, hierarchy, the exercise of power and the primacy of discipline and order.

Set in the autumn of 1964 in the Bronx, New York, the film focuses on the suspicions of the primary school principal, Sister Aloysius, that the local priest and chaplain to the school, Fr Flynn, is taking an unhealthy interest in one of the students, aged twelve. There are some suggestions, several ambiguous clues, about what might have happened but the actual events remain unclear as the priest defends himself against the nun' strong intuition against him and the nun discusses the problem with the boy's mother. As the title of the film indicates, the drama leaves the truth unclear because it is the stances of the two characters in conflict, especially the determined nun and the truth struggle, the power struggle, the conscience struggle, that is the point of the film.

John Patrick Shanley (Oscar for the screenplay for Moonstruck and a prolific playwright) has adapted and opened out his Pulitzer-prize winning play for the screen and directed it himself. Shanley has indicated that he is not so much concerned with the issue of clerical abuse of children as of pitting two characters against each other to highlight the uncertainties of certainty and the nature of doubt. The drama is all the more powerful because of its naturalistic atmosphere, recreating the period and the life of the school, the convent and the rectory, and because of the powerful performances by Meryl Streep as Sister Aloysius and Philip Seymour Hoffman as Fr Flynn. Amy Adams gives contrasting support as the gentle and somewhat naïve Sister James who teaches the children. Viola Davis is the mother of the boy.

It can be noted that the nun on whom the film's Sister James was based and who taught Shanley at school in the Bronx has acted as a technical adviser. The film, by contrast with so many others, represents the details of Church and liturgical life accurately – although there is a breviary in English, which was not the case in 1964, the children sing the Taize Ubi Caritas at Mass although it was composed later and Sister James is allowed to go to visit her sick brother which most nuns were not permitted to do at that time. However, the film has a Catholic atmosphere which, while it might baffle audiences who were not there at the time, will ring true and bring back many memories to Catholics who lived through this strict period.

As with most organisations by the beginning of the 1960s, secular or religious, the Catholic Church was hierarchically structured. Everyone knew their place, whether they liked it or not. A pervading Gospel spirit of charity and service pervaded the Church but it was often exercised in a way that seemed harsh and demanding, especially by those who saw their authority being backed by a 'grace of state'. Many of those who left the Church in this era give anecdotes of the treatment they received from priests and nuns as reasons for their departure, even of their loss of faith. When John XXIII called the Second Vatican Council in January 1959 and it opened on October 11th 1962, in his phrase, windows were opened, and change began to sweep through the Church. This coincided with the changes, especially in Western society during the 1960s and the widespread protests symbolised by the Vietnam War and the hippy movement. In fact, this was also the decade of enormous changes in Africa and the moves for independence. Independence was a key word of the 1960s.

This is the theme that Doubt takes up.

Sister Aloysius

Sister Aloysius, who, we learn, is a widow, is a strong-minded superior of the strict, intervening school of religious life. She sees herself as an authority figure and what she says goes. This was the spirituality of God's will spoken through the Superior – though, in retrospect, this often seems more the whim of the superior. She believes in discipline and she does not expect to be liked. She trusts her intuitions and assumes that they are correct. She does show some consideration to the health and mental states of the older sisters and has moments of kindness to Sister James but, the kind of Church and religious life she has inherited mean that she is constantly on the alert, wants proper order everywhere and sees herself in the chain of hierarchical authority that goes up via parish priest, bishop, to Rome and to the Holy Father.

Shanley is giving us an image of this kind of nun and her ethos and religious motivations. At its best and worst this can be seen in Fred Zinneman's The Nun's Story (filmed in 1958 while Pius XII was still alive and the assumption was that this is how religious life would be forever) but released in 1959 after John XXIII had called the Council which asked for renewal in all religious orders. Sister Aloysius is experiencing the first signs of a more transparent church, a church where a more adult obedience and discernment would replace any blind obedience and any childish exercise of power. A year after the story of Doubt, the Council would issue its Constitution on the Church which would respect hierarchy but interpret the life of the Church as that of the People of God, with the principles of subsidiarity and shared responsibility.

Fr Flynn

This kind of Church is what Fr Flynn is foreshadowing in the film. It is not as if there were not friendly priests – Fr Bing Crosby received frowns from Fr Barry Fitzgerald in the 1944 Oscar-winner, Going My Way, for being too open and relaxed – and got into some trouble with the school principal, Ingrid Bergman, in The Bells of St Mary's, both films being interesting companion pieces to Doubt.

At the opening of the film, Fr Flynn gives a sermon on experiencing doubts. This cuts no ice with Sister Aloysius. Fr Flynn is already on her hit list because of his friendliness towards the children in the school. He coaches basketball. He talks with the children and affirms them. This kind of pastoral outreach was about to be encouraged by the Council's document on priesthood.

The film also offers a contrast between the silent, rather ascetical meals in the convent with the jovial conversation and joking at the priests' parish table.

Certainties and doubts

The confrontations between Sister Aloysius and Fr Flynn become quite desperate for Fr Flynn when he realises that the nun is so certain and dominating and has taken investigations into her own hands rather than respecting him as a person let alone a priest. We see the conflict between the old authoritarian style and the new, more personable style of interactions. While Shanley himself states that he has some sympathy for the old ways, rituals, silence and devotion, his drama clearly shows the inadequacy of the authoritarian hierarchical model of Church in dealing with human relationships. Something had to change. And it did.

The sisters in the film are the Sisters of Charity founded in the 19th century by Elizabeth Bayley Seton,canonised a saint in 1975, and they are still wearing her dress/habit and bonnet. Within the decade, that would change, sisters wearing a less formal habit or ordinary clothes with an emblem indicating their religious order. Community life would be less rigid as would the relationships between the sisters. There would be different relationships between the parish clergy and the sisters would worked in the parish.

Doubt offers an opportunity to look at the two models of Church and to assess their strengths and weaknesses, especially in the light of subsequent events and the nature and life of the Church at the present day.

The film wants to create doubts in the minds and emotions of the audience by contrasting the two styles of pastoral outreach, Sister Aloysius as stern, Fr Flynn as amiable. As regards the doubts about Fr Flynn's behaviour, contrasting clues are offered: Fr Flynn's manner and friendliness with the boys, his singling out Donald for attention, Donald's drinking the altar wine in the sacristy and Sister Aloysius' conclusion that Fr Flynn had given it to him, Fr Flynn's calling Donald out of class to the rectory and Sister James' wariness about this. On the other hand, Fr Flynn has explanations of Donald being the only African American boy in the school and the antipathy and bullying he received and wanting him to remain as an altar boy despite the offence which required his being dismissed as a server, his drinking the wine because of his father's beating him because he suspected his homosexual orientation. This is complicated by the conversation between Sister Aloysius and Donald's mother whose sole concern, irrespective of what Fr Flynn might have done or not done and her husband's violent treatment of Donald, is that Donald remain in the school for the next sixth months so that he will graduate and have the opportunity to go to a good high school.

Shanley's images of Sister Aloysius at the end indicates that he believes we should all have doubts and not take the moral high ground of untested certainties.

There are several films that take up this transition in the Church in the aftermath of the Second Vatican Council. At the time, there were some films about nuns handling the changes: The Trouble With Angels, Where Angels Go... Trouble Follows and Change of Habit. The small-budget film, Impure Thoughts (1981) has some very funny scenes of reminiscences about sisters and prriests in a parish school of 1961; Heaven Help us (1985)is set in a Franciscan boy's high school in 1965. This was the year Paul VI went to New York and addressed the United Nations – an event which is part of the background of Polanski's film of Rosemary's Baby. For a stronger focus on the changes for nuns at the time, the Australian mini-series, Brides of Christ, is probably the best. A telemovie, starring Kate Mulgrew as Mother Seton, about the founding of the Sisters of Charity is A Time for Miracles (1980).

1.The impact of the film? For a church audience? For non-church people? Seeing it as a drama about wills, hierarchy and power?

2.The original play, sets, confined areas? The play opened up? The reliance on language, set speeches?

3.The fall of 1964, the Bronx, St Nicholas school, the rectory, classrooms and gym, offices? The church and the sacristy? The streets, the weather, the buildings? Bleak, rain and snow? The bleaker visuals, colour? Costumes and décor? The sombre score? The use of a range of Catholic hymns and their appropriateness?

4.The title, theme? Issues of certainty, certainty ending conversation? Conviction – in terms of belief and judging others? Battle of wills? Moral dilemmas? Entrenched opinions? Father Flynn and his opening sermon, the issue, as it concerned himself? Sister Aloysius and her certainty? The issue of uncertainty, on the part of the audience? The role of suspicions, evidence, intuitions, rational approaches? The consequences of absolute certainty? On lives, reputations? The ending and Sister Aloysius doubting and weeping?

5.The Catholic church in 1964, in the Bronx, the strong tradition, the pupils, the first black student? Strong faith, full churches, attentiveness to sermons, prayers, the choir, singing of hymns? The church and Mass, the altar servers? Authority and hierarchy? The role of power? The church as tough, demanding, Sister Aloysius happy that the children were terrified of her? Right and righteousness? God’s will, order and control? Issues of freedom, discipline? The changes of the 1960s, the Second Vatican Council, different approaches in ministry? The role of compassion? The role of being right and correcting others? Changes in lifestyle, religious habits? Father Flynn and his more relaxed approach, sport, the rectory and the jokes at table? The sisters and their austerity, the scenes of their getting up in the morning, washing, helping the older sisters, the small community, the meals, silence, Sister Aloysius and superior, her curt remarks to people, the interrupting the meal, interrogating Sister James? The reality of the changes soon to come by 1970?

6.Father Flynn and his age, experience, with the other priests, with Monsignor? Celebrating Mass, reverence, his sermons? With the altar boys in the sacristy? The issue of David and the wine, the rules and David having to be dismissed? David as the only black student, his being teased, Father Flynn helping him against the bullying? Father Flynn and the sport, the coaching? The sermon on doubt? Calling David to the rectory, putting the clothing back in his locker? Sister Aloysius and the summons, the cross-examination about David, the drinking of the wine? Sister James and her reporting him? His reassuring her and explanations? Sister Aloysius and the phone calls about his past, the build-up to the showdown, the discussion about the Christmas pageant? The head-on confrontation, justice, his reputation, his past? His final sermon, the well-wishing of the congregation for him at that Mass?

7.The issue of sex abuse, the issues of impropriety? The 21st century context of abuse? The director’s using it as a framework for his exploration of certainty and doubt? What evidence for Father Flynn, Sister Aloysius’s suspicions? The two styles, the exercise of power? Insight into abuse?

8.Sister Aloysius’s background, as a widow, late vocation, from the atmosphere of World War Two and the confrontation between good and evil? Tough, her accent, barking orders? Not worried if she terrified people? Church order, discipline, the school, her behaviour towards the children in class and church, hitting them on the head, their going to her office? The boy with the transistor and his automatic lies? David and his bullying? Sister James and her class, her being considered naïve? The issue of ballpoint pens?

9.Sister James, her personality, suspicions, the discussion, Sister Aloysius not wanting proof, her intuitions, watching to trap Father Flynn, satisfied that she had a cause? The old method of confrontation? With Sister James as witness, the Christmas pageant, secular songs, ‘Frosty the Snowman’? Her wanting to ban it from the airwaves – but later listening to the transistor? The tea, the politeness, the build-up to the confrontation?

10.Sister James as young, nice, with the older sisters, at meals, her classes and trying to teach history, kind to the children, noticing David being called, praying about the issue, telling Sister Aloysius a week later, with Father Flynn and his reassurance? Her disillusionment, her harshness towards the children afterwards? Using the reflection so that she could catch children – Sister Aloysius’s method? Going to see her brother, her return? The effect of the episode on her? Sitting in the garden with Sister Aloysius at the end, hearing Sister Aloysius’s doubt?

11.The portrait of the kids, in class, sports, interactions amongst themselves, the history classes, the interactions with David, the altar servers, the bullying and opening up his case in the corridor, Father Flynn giving him the gift of the dancer, helping him up? The hard attitude of the children? Their parents? 1964?

12.Sister Aloysius and the phone call, talking with David’s mother, Father Flynn glimpsing her in the room? Sister Aloysius acting on summons? Mrs Miller, her job, wanting to be on time? The revelation about David’s father, beating him, the homosexual orientation and the father’s antagonism? Yet the boy only twelve years old? His drinking the wine, the reasons? Mrs Miller’s attitude, wanting her son to graduate, to get a chance? Sister Aloysius and her threats, Mrs Miller’s comebacks? Walking in the snow, listening to Sister Aloysius, her surprise? Sister Aloysius and her being shocked at Mrs Miller’s reaction?

13.The confrontation, crisis, both sides? Sister Aloysius at advantage? Father Flynn accused, presumed guilty, the effect?

14.The farewell Mass, Father Flynn greeting the crowds?

15.Sister Aloysius, her weeping, her uncertainties?

16.Audiences identifying with Sister Aloysius and why? With Father Flynn and why? The issues of challenge to power, the challenges to certainty? Living with doubt?

MILK

US, 2008, 128 minutes, Colour.
Sean Penn, Emil Hirsch, Josh Brolin, Diego Luna, James Franco, Alison Pill, Victor Garber, Dennis O ’Hare, Joseph Cross, Stephen Spinella, Lucas Grabeel, Howard Rosenman.
Directed by Gus Van Sant.

It is not usual for a reviewer to put a personal note at the beginning of the review, but I thought it appropriate for Milk.

The first thing is that I was studying for two months in Berkeley in October-November 1978, fourteen Australian religious and priests at that time, the period for the dramatic climax of Milk. There was much discussion amongst Catholics as well as ecumenical discussion about Proposition 6, proposing the repealing of legislation discriminating againsts the rights of homosexual men and women. This made Australians think more about these issues than they had occasion to think of before. The proposition, proposed by Senator John Briggs and anti-homosexual rights campaigner, singer Anita Bryant (both of whom are featured in the film), was defeated. The atmosphere in San Francisco and the Bay area was suddenly shattered when a few days later, supervisor Dan White shot openly gay city supervisor, Harvey Milk, who had championed the opposition to the Proposition. White also shot and filled the mayor of San Francisco, George Moscone. To the outsider, this was another shocking instance of American recourse to the gun as a means of 'solving' an issue.

Though there is no allusion to it in the film, it was only 11 days after the vote that the crisis in Jonestown, Guyana, came to its horrific conclusion with the mass suicide of 900 people and the death of the sect leader, Jim Jones. Most of the Jonestown people were from San Francisco, where they had their headquarters, or from California.

November 1978 was a strange, even weird, time to be in the Bay area.

The second thing is that this review is being written on December 12th and CathNews, the Australian Catholic website, is today posting comments by the Vatican spokesman, Fr Federico Lombardi SJ, on the Catholic Church's stance on legislation discriminating against homosexual people. 'The Church is contrary to legislation that criminalises homosexuality.' Fr Lombardi added that this is clearly expressed in the Catechism of the Catholic Church. The Church's position stems from its respect for the rights and dignity of the human person and explicitly excludes 'any unjust discrimination on the basis of homosexuality'. This was one of the key issues in opposition to the Californian proposition 6.

Incidentally, just above the item on the Vatican on Cathnews website, there was a report of an address by Bishop Manning of Parramatta to graduates where he commented on those Catholics who believe that 'it is their mission to correct everybody else' and to develop a Church of 'those who are right' rather than 'a Church of mercy'. This seemed apposite to the film, Milk.

Clearly, this is not a review of the film but might be considered as 'matters arising...'. The review follows.


Sean Penn, in one of his best performances, holds audience attention in this long film about the San Francisco city supervisor, Harvey Milk, already the subject of an Oscar-winning documentary, The Times of Harvey Milk (1985) by Rob Epstein. This film acknowledges its debt to the documentary.

The film opens with Milk dictating some memories in 1978 and then moves to the announcement of the assassination of Milk and the mayor of San Francisco, George Moscone. Audiences know the outcome of what they are about to see.

Director Gus Van Sant is a gay man and his film, written by Dustin Lance Black, is heartfelt in its championing of campaigns for the civil rights of homosexual men and women and its attacks on discrimination. It also portrays people as they are, strengths and weaknesses, achievements and failures, whether they be gay or straight. Clearly, the film is sympathetic to the cause of homosexual men and women, seeing their history of civil rights as similar to those of other racial, disabled or marginalised minorities.

Van Sant has made a number of more experimental films as well as some in the mainstream like Good Will Hunting and Finding Forrester. While drawing on his experimental styles, he has made Milk as more accessible to the mainstream.

The film goes back to 1970 when Milk is celebrating his 40th birthday and is sad that he has not achieved anything of which he might be proud. Beginning a partnership with Scott Smith (a sympathetic and genial James Franco), he moves to San Francisco and the Castro district where he enjoys a less restricted life than he did working in insurance in New York and sets up a business which leads him into the politics of civil rights. Over the years, he increases his vote, finally being elected as a city supervisor in 1977, the same time as Dan White, of Irish Catholic background, is elected. They try to collaborate but take opposite stands on Proposition 6 and other matters and White feels that he has been humiliated by Milk.

Josh Brolin (after his fine performances in No Country for Old Men and W) is excellent as White, enabling the audience to get behind the sensational headlines of his murders to understand something of why he killed Milk and the mayor.

Quite a lot of footage from television news of the period is incorporated: daily life in the developing gay area of the Castro, news reports from Walter Cronkite, the campaigning of Anita Bryant.

The casting of Milk's associates seems based on their resemblance to the characters they portray with stills of actors and the real people shown at the end. They include Emile Hirsch, Joseph Cross, and Diego Luna as Milk's partner during the campaign, whose erratic behaviour questions Milk's personal judgements or shows his compassion for people in trouble.

Milk is well-made but not comfortable viewing. It also serves as a challenge for audiences unfamiliar with its themes and its characters to reflect on what they stand for and campaigned for, to be better informed and to have a more nuanced approach to agreement or disagreement.

1.A film based on actual characters and events? The 1970s? Politics, civil rights, sexuality, homosexuality? The perspective thirty years on?

2.The work of Gus Van Sant, his films, experimental, mainstream? The passion he brought to this film? The issues and identification? Perspective?

3.The audience response to the issues, to gay rights, to the events of the 60s, the reactions of the 1970s? The religious groups and their entering into politics?

4.Catholic teaching on discrimination, that there should be no discrimination against homosexual rights?

5.The re-creation of the period, New York City, San Francisco and the bay area, the Castro area, the Castro Cinema, the streets? The shops, city hall, the opera house?

6.The use of archival footage, for television commentators, for Anita Bryant and her comments and protests, the marches, Milk’s funeral? Inserted into the framework of the film?

7.The musical score, the songs, ‘Somewhere Over the Rainbow’ as a theme?

8.The strong performances, the screenplay, keeping close to the original events and characters? The final credits and the photos of the actual characters with their star counterpart?

9.The introduction to Harvey Milk, dictating memoirs, quietly, reflecting on his life, experience, sexual issues? His speculating if he were to be assassinated? The reprisal of these images after the showing of the assassination?

10.Harvey Milk in 1970, an insurance man in New York, the background of his family, in the subway, passing Scott Smith, speaking to him, his birthday, Scott’s response, their time together, his lament that he had done nothing worthwhile, speculation as to reaching the age of fifty? The reprising of these images after the assassination?

11.Scott as a person, his charm, the bond with Harvey, the love, their discussions, New York life, the decision to change, a freer life in California, the atmosphere of the 70s, the Haight-Ashbury? area, the Castro? The post-hippie freedom? The apartment, their look, hair, clothes? The lease on the shop, setting it up, the criticism from neighbours? The antagonistic shop owner and his later change of heart? The connections, encouraging the gay customers? Their friends?

12.Harvey Milk and his influence, the experience, the experience of attack on rights, the murder of the homosexual in the streets and nobody charged? His decision about politics, his campaigns, Scott as his manager, the other friends, meeting Cleve and discussing matters with him in the street, his resistance, going to Spain? His return and joining in? The rallies, his jokes, his theme about recruiting the audience? The union response, the speeches and the images of the union supporting him? Going to visit David Goodstein, the discussions, Goodstein’s attitude towards a quiet campaign? The lawyer? The details of the campaign, the contribution of the friends, working in the office, posters, handouts, meeting people in the street? The failed attempts to get elected?

13.The debates, Harvey debating with his rivals, the nature of the speeches, the issues, the murder and justice? Standing for state assembly, discussions, campaign, losing?

14.Harvey’s private life, the relationship with Scott, the apartment, meals, the range of friends, the bonds, the camp talk? Scott and his being tired, resigning as manager, his leaving and Harvey’s reaction sitting in the chair?

15.The change of situation in the electoral boundaries, the map, redrawn, persuading Harvey to stand again? Inviting Anne Kronenberg to be the manager, her tough stances, the lesbian background, the men’s reaction, her success, the San Francisco Chronicle endorsing Harvey Milk? The further endorsements?

16.Dan White, in himself, the Irish Catholic background, the area where he was elected? His family, meeting Harvey, distant, the issues, his speech – and his wife’s support?

17.Harvey Milk and Cleve, the meeting in the street, Cleve helping, the marches, watching Anita Bryant and her campaigns, in different states, in Florida, in Kansas? The angry marches in response, Harvey and his ability to control them, the police relying on him? His ultimately winning?

18.The mayor, the supervisors, the swearing-in, the reactions? City hall, the offices, the staff? Yet Harvey and his home life, the shock, continuing with Dan and his work?

19.The phone call from the crippled young man attempting suicide, his later phone call and move to Los Angeles? Harvey Milk and his response to the needy? The first encounter with Jack, Jack’s personality, ignorant, emotional, his demands, the reaction of the other friends, the embarrassment? Meals, times, being referred to as ‘First Lady’? His final anger and his hanging himself?

20.Proposition 6 in 1978, Anita Bryant and Senator Briggs? The threat of a riot, Harvey as supervisor arranging with Cleve for the procession, his coming out from city hall and saving the day? The propaganda for Proposition 6, the debates, the religious dimension? The political points being made, civil rights? The night of the election, the map, the sudden information about the win, Harvey’s interview on television?

21.The background of the campaign, the marches, Scott and his friendship, the opposition? Dan White and his differing from Harvey?

22.The politics, Dan White and his wanting the institution moved out of his electorate, Harvey doing deals or not, his advice? Harvey going to the baptism? Talking with Dan’s wife and her reaction? Dan White and his failure, attitude to Proposition 6, his drinking, accosting Harvey and being abusive, his personal debts and his comment about family and Harvey not having the expenses? His resignation, going to the police, taking back his resignation, the visit to the mayor, Harvey and his urging the mayor not to reinstate Dan White? Enjoying his power?

23.The day of the assassinations, Dan White at home, dressing, arriving, going in to see the mayor, his shooting the mayor?

24.Harvey and the night before he died, listening to Tosca, his visit to the opera? Ringing Scott? Going to work, his confrontation with Dan White, the dramatising of his death?

25.The marches in tribute, the candles? Harvey Milk dying before fifty, yet his political and civil rights achievement? The final credits, the photos, the aftermath of the movement? The photos of the variety of helpers, Anne Kronenberg and her subsequent history and family, Scott Smith, Cleve and his contributing, Danny Nicoletta and his continuing to be a photographer? Jim Rivaldo and Dick Pabich and their work? The characters brought to life in the film – and in light of their subsequent careers?