APOCALYPSE NOW

US, 1979, 147 minutes, Colour.
Martin Sheen, Marlon Brando, Dennis Hopper, Robert Duvall, Sam Bottoms, Larry Fishburne, Albert Hall, G.D.Spradlin, Harrison Ford, Scott Glenn, Colleen Camp.
Directed by Francis Ford Coppola.

Apocalypse Now is Francis Ford Coppola's attempt at a definitive statement about the Vietnam war. While he may not have succeeded in making the definitive cinema statement, he has created a cinema masterpiece. The film was several years in production: shooting started in early 1976 and concluded in the middle of 1977. There were many production difficulties including the loss of millions of dollars worth of equipment because of weather in the Philippines. The work on editing the material and putting it into presentable and commercial form took until the beginning on 1979. The film won the award for Best Film at the Cannes Film Festival, 1979 although it was presented as a work in progress. The film achieved general release during 1979 and was acclaimed.

The scope of the work is vast. Coppola, who had experience in the '70s of succeeding with the two Godfather films as well as the film about surveillance, The Conversation, handles the scope of the war very well indeed. However, he used Joseph Conrad's novel Heart of Darkness as the basic framework for the plot. He himself said that when there were difficulties in filming he went back to this novel. The basic outline of the journey along the river into more remote vastnesses to find Kurtz is transferred to Vietnam and Cambodia very well. Martin Sheen in an admirable performance sustaining the film is the searcher for Colonel Kurtz, played by Marlon Brando - fat, with shaven head, mad - who appears only in the last part of the film.

However, the momentum of the film is towards him. The actual war is presented vividly especially in two sequences - a helicopter attack and a night encounter. The issues of the war and its madness are very much to the fore. Political background, however, is not included. The journey into madness and the darkness of the human heart are the centre. Robert Duval gives an excellent supporting performance as a gung-ho commander. There is a strong supporting cast. However, the technical credits are most impressive. Photography by Vittorio Storaro (the cinematographer for Bertolucci's Last Tango and 1900). The scope and sweep of scenery and location photography and battle is matched with the intensity of the close-ups and the isolation of individuals. There is a striking score by Carmine Coppola, the director's father, who was responsible for music for the Godfather films with Nino Rota. Apocalypse Now is a significant film of any decade but is a cinematic vision of a key period and an understanding of American involvement in the East in the late '60s and '70s.

 

APOCALYPSE NOW REDUX

Francis Ford Coppola's 1979 Vietnam War drama, Apocalypse Now, was a masterpiece of cinema art. It is certainly in my top 100 films. Coppola had taken Joseph Conrad's 1902 novel, Heart of Darkness, about an expedition up river in the Congo to find Kurz, who had disappeared into the jungle and into his own megalomaniac solitude and adapted it to explore the American involvement in Vietnam. He was taking events which were barely ten years past at the time of filming. He wanted to bring to the screen an insight into America's heart of darkness.

The story of the making of Apocalypse Now in the Philippines in the later 1970s has become an epic in itself. Coppola had too much money to spend and was extravagant in the detail as well as the sweep of the sets. He sacked his star Harvey Keitel and replaced him with Martin Sheen who suffered a heart attack while filming. The Philippines experienced one of the worst monsoon seasons on record with storms destroying sets and delaying action. Yet, as with the production of so many works of art, out of this chaos came a moving and insightful look at war and what it does to individuals and peoples. Coppola, who had directed three masterpieces during the 70s, The Godfather, Godfather II and The Conversation, now showed a visual skill that makes Apocalypse Now still quite breathtaking in its scope.

But Coppola likes to edit and re-edit. For television, he took his Godfather films and footage that was left over and edited them into a saga that took audiences through the events of the films in a chronological order. In recent years, he has been re-editing Apocalypse Now, doing a digital master copy and toying with re-inserting sequences omitted from the 1979 release. In fact, he has put fifty three minutes of unseen material back into the film and called it Apocalypse Now Redux. The principal reinserted material concerns Captain Willard and his crew crossing the border into Cambodia and encountering a French family who declare their right to be there as part of their heritage and resent defeat by the Vietnamese.

This gives the film a bit more political resonance. Coppola was not to know, but the re-release of the film outside the US after September 11th will make its audiences think much more deeply about the war on terrorism. I saw this version in October in Los Angeles during a film and spirituality festival whose theme was 'Touches of Evil'. It was just three weeks after the bombing raids began on Afghanistan. UK audiences are to see it in the aftermath of the fall of the Taliban. Apocalypse Now Redux has become extraordinarily topical.

Another reinserted sequence throws light on Marlon Brando's Kurz. He has opted out of the military system, created his own empire of death in the jungle and has a death wish. Now, Brando reads an article out of Time Magazine to Martin Sheen, asking the audience to take time out from the action, to listen to the implications of American foreign policy in Asia.

The new version has more content than the original, but the cinematic power of the orginal is still there. One has only to see again the helicopters sweeping in to Wagner's Ride of the Valkyries and hear Robert Duvall declaiming about the smell of napalm in the morning to now that this is a classic film.

1. The overall and total impact of the film? Its quality of production, content? Awards, acclaim? The criticism that it was pretentious, a folly?

2. The work of Coppola and his career? The film as a culmination of his early work and of his films of the '70s? His skill as a writer (Is Paris Burning, Patton - for which he won an Oscar?), the production difficulties, the risk? His overall vision and capacity to transfer it to cinema? The collaboration with John Milius (and his writing and directing of mythic films of the '70s)?

3. The use of Joseph Conrad's novel Heart of Darkness for plot, the mythic element of the journey and the quest, the sense of mission, the establishing of the characters and their characteristics, setting and meaning? The attention to detail and the images from Conrad's book? T.S. Eliot and his quoting of Heart of Darkness for The Hollow Men and Kurtz's quotation of it, quotations from Eliot and having in the Cambodian jungle the anthropological books quoted by Eliot in the wasteland?

4. The impact of war, of the Vietnam war and its specific problems? The audience immersed in the experience of war as well as observing it? Vietnam and the jungle, the river, the styles of warfare in the '70s? The people involved ~ officers, authority figures, the ordinary soldier? Orders and the execution of these? The pros and cons of the people involved in the war? An American war, and American war for the Americans in South-East? Asia, for the Vietnamese and Cambodians?

5. The impact of the film for an American audience, what explanations of the war, responsibilities, guilt? An American audience experiencing some catharsis via this visual involvement? For nations involved in wars in South-East? Asia? For audiences from countries not involved? The hindsight about the war? Its impact in 1979 and later?

6. The technical contribution to the film: the use of Technovision, the skill of the presentation of the images, the large-scale visual scope, the intimate presentation of characters, the scope of international war and the isolation of individuals? Colour photography and its beauty and ugliness? Light and dark, shadow? The contribution of the score - its atmospheric tone? The song at the opening and the end? The use of Wagner? The various songs? The editing devices? The camera movement e.g. aerial photography, the intimate battle sequences?

7. The strength of the plot - the basis in Joseph Conrad? The reality and unreality as explored in the Vietnam context? The move into the heart of darkness of human nature in war? The focus on Willard, audiences identifying with him and understanding him, his attitude towards the war? Moving with him through various changes of attitude? Audience response to his mission, the urgency of the mission and the goal of reaching Kurz? The device of the journey along the river, the journey beyond boundaries? The introduction to the crew and the sub-plots with them, the sub-plots on the various attacks, the narrowing down of the plot to the voyage on the boat, the clash at the border? The continual movement towards Kurz (and audience hearing the voice of.. and seeing photos of Marlon Brando), the culmination in the final half hour at Kurz's headquarters?

8. The importance of Kurz as goal: the voice, the gradual filling in of his story, seeing pictures, the discussion of his military record? Marlon Brando's presence and his power to draw audience interest in him and his character? Willard's goal to eliminate Kurz?

9. The significance of the title - the tones of apocalypse, the end of the world, the end of the millennium etc.? The relationship to the Book of Revelation and the biblical tones? The eschatological meaning? The bringing of the end of the world into the presence in war? Apocalypse and the Vietnam war. any war? American power and its potential to destroy the world and bring it to an end in conflagration? The universal significance of the title? Images of fire, avenging angels., plagues? Death and apocalypse? The focus on Christ and the saving tones of apocalypse, Kurz as anti-Christ? The millennium and the blind and fanatic following of Kurz and the religious sect? His mystique and power? Kurz's ideas of ruthless perfection? The title as the motto at Kurz's headquarters? The phases of apocalypse: the nations, individuals, Kurz?

10. The film's insight into war: horror and the final words of Conrad in Brando's mouth, the madness of war and the varieties of this, the rights and wrongs in relationship to madness. evil, strategies? How well did the film involve audience in evil and madness and help it to understand them? The initial officers and their commission to Willard and their madness and evil. the evil of rules. conventions. codes. secrecy? The ordinary soldiers in relation to this, their isolation, their coping.. inability to cope - especially the Americans and their longing for home, lack of morale, use of drugs etc.? War and suspicions and fear? Madness of war and memories of the ordinary world, the transistor and its bringing news and music and tapes from how? Those involved in war and its madness compensating with power.. games, drugs, drink, sex, personal clashes, violence? Questions of tension and how much can be taken? The people involved in the war making it their own., the involvement in others? The need for finishing a war? Ruthlessness in bringing the war to conclusion - Kurz's ultimate evil and madness? Willard and his observation of the madness? His becoming identified with it, the final confrontation and decision?

11. The film's portrayal of madness: a mad world, national madness, individual madness, Willard's oddness in the opening sequence, the madness of the ordinary soldier, the madness of the American involvement in South-East? Asia? How did these compare with Kurz? Which madness is worse? The comparisons of the various experiences of madness?

12. The film's portrayal of evil: man as good, the focus on the human heart and yet a heart of darkness, the basic human values, their challenge, difficulty? Presuppositions about good and evil? The dark side of the heart and Kurz as the extreme? Willard and seeing the possibilities of Kurz's approach to madness and the war, the possibility of succumbing, the revulsion? What basically is the evil of war, what the suffering? The obvious catastrophes and the cruelty and meaninglessness of the war? How does this compare with pride and the perfection of evil?

13. The portrayal of violence: the aggressiveness of the war, defensiveness? How much right violence? How much wrong violence? Physical, mental, moral? Torture, invasions, killing, accidents? The role of injury and torture, blood? American aggression, Vietnamese aggression? The violence of the aerial attack, of the night at the bridge? Kurz's violence - the subjugation of the people, his torture of Willard, the death of the sailor and his beheading? Audience identification with the violence, revulsion?

14. The impact of the prologue - images of fire and apocalypse? The focus on Willard - as a man, soldier, American? The explanation of his civilian life -photos, letters, his discontent and inability to readjust? His need for being involved in Vietnam? His personal discontent and disorientation - how was this illustrated by his look, behaviour, moods, martial arts training, drinking, violence, smashing mirror? The background of his career - intelligence, killing, assassinations, secrecy, orders? The foreboding of his waiting, the experience of isolation? The technical devices to illustrate these moods, the visualising by superimpositions, photographing his face upside down etc.? His fantasies, songs? The blood on his face? Man within this kind of world - apocalyptic man? His readiness then when the soldiers came to get him to commission him? Audience identification with him, puzzle, revulsion? Readiness to go on his voyage to the heart of darkness?

15. The character of Willard: the ordinary soldier, a significant career? The American officer and his training, background, involvement in Vietnam? His feeling alienated when at home in the United States? Restlessness in Saigon? The importance of the commentary and its in formation, irony? Its influence on audience response? Willard and his alienation from family? His crisis at the opening of the film? The apocalyptic imagery associated with this? Upside down, fire? Martial arts? Blood? The crisis and his drinking? Hope and confusion? His being a military assassin? Strengths and weaknesses? The soldiers taking him to the interview? The officers and their gentlemanly giving of his mission? The meal? His orders? Information about Kurz and his gradually getting ready from confrontation? The motives for going? His need for action? Patriotism and loyalty? The many sequences of his studying Kurz throughout the boat trip? His life on the boat and his reaction to each of the crew? His puzzle over the ordinary soldier's presence in Vietnam? His experiences - the helicopter, Kilgore and Wagner? The massacre in the village? Continually moving up river? The depot and the black marketing, his demands for supply? His presence at the playgirl entertainment? The arrival at the border and the confusion? The hellish imagery? His receiving more information as he went beyond the border? Studying Kurz, his predecessor, identifying with Kurz and being alienated? The boat and his relentless living of orders, not letting anything impede his progress, the shooting? The atmosphere of his arrival, wariness, the experience of the natives, the suffering? The photographer and his raving enthusiasm? Willard at the mercy of Kurz? Imprisonment, torture? The death of Chef? The discussions with Kurz? The articulation of the apocalyptic themes? Trying to understand Kurz's behaviour and its motivation? Kurz allowing himself to be executed? The parallel with the ritual? Willard emerging from the water as another Kurz to ritually execute him? The final decisions and his taking Lance with him? Radio communication? The response of the natives in their ritual? The option for Willard to be a new Kurz or to go back to "civilisation"? The options of madness and possibilities for a sane future?

16. Kurz as the goal of the mission? The information given about him, tapes, press clippings? The star American officer to the Heart of Darkness? The journey of Kurz from success to madness? The plausibility of this trip in a war-torn apocalyptic world? Kurz and his playing God? The visual impact of baldness, size, shadow? Marlon Brando's impact, words, mutterings, quotations? His library of classics and recitation of The Hollow Men? Overtones of the wasteland? The response of Colby and loyalty to Kurz? The journalist and his enthusiasm? Chef's beheading? Kurz allowing himself finally to be executed? No place for him in the American world? His isolation and being almost already dead? Puzzles of motivation? His comments on the horror of it all? A human being tempted to emulate God - Genesis analogies for the knowledge of good and evil and being like good? Kurz being sacrificed and symbolically imaged by the ritual holocaust?

17. Kilgore and his cavalry style, jingoism, macho mentality, American officer, fighting past wars in the present, relationship with his men? Surfing as symbol of the macho image? His strategy. the smell of napalm and victory? His attitude towards the Vietnamese? The helicopters, Wagner, the attack, the landing and encampment, making his men surf? His attitude towards the body count? A telling symbol of American self-appointed presence in Vietnam?

18. The portrait of the crew: Chef and his memories of New Orleans, the gentle type. his talk. sensitivity. the encounter with the tiger, his presence on the mission? His support of Willard? The horror of his death? Lance as the young man and background of surfing, drugs, only a boy? The easy presence. the growing involvement? His being in the Heart of Darkness, being painted and participating in the savagery, the possibility of his being lost? His sharing the escape with Willard? Clean and Chief? Blacks on the mission? Chief and his control? Feelings of disorientation but following orders? Surviving? The incongruity of their presence in Vietnam? Clean and the ironic playing of the tape at his death? Chief and the visual impact of his death? Its feel? Its significance and his resentment? Their presence on the river, going further into remote places, the experience of the border, the boat and the shooting of the woman, the dog? Images of the dislocation of the Americans in Vietnam?

19. The officers at headquarters - their plans, playing God, the criteria and standards for their judgments about Kurz, the briefing and the casual atmosphere of the meal? Colby and his being converted by Kurz's experience?

20. The photographer - his incongruous presence in the Heart of Darkness, his vocal style. taking photos? Sharing in Kurz's madness? A mouthpiece for Kurz? His acting as if stoned? His still being a photographer in such a situation? The incongruity of his presence and discipleship?

21. The Americans and their immersion in Vietnam - American traditions: rock 'n roll, surfing etc. and the young American soldiers? Religious services e.g. the mass? Their attitude towards the Vietnamese - Gooks? Their being lost in another world and in the jungle? The culmination in the flamboyant show and the helicoptering in of the Playmates of the Year? R & R in the jungle? The theme of frustrated sexuality., phallic symbols? The militia being four-star clowns?

22. The cinematic impact of the attack on the village? The layout of the village and its ordinary way of life, precarious peace? The sounds of the helicopters and the B52s? The playing of Wagner? The waves and Wagner's melodies? Swooping on the village? "Death from above"? The villager's fleeing for safety. death? The sabotage of the helicopters? The mopping up operations - Kilgore camping, talking, his Confederate hat? What kind of war? The atmosphere of night at the border? The bridge and its defence, its being destroyed? Madness, fear, not knowing who was in command, images of hell? "The ass-hole of the world"?

23. The emphasis on the jungle, Americans not knowing the jungle, the sudden fright with the tiger? The huge supermarket style depot in the middle of the jungle, its lights? Black market? References to Charles Manson.. Disneyland? Limbo and hell?

24. Going into Cambodia and its being illegal? Standards, morality? The world of the boat and Willard shooting the woman in order not to impede progress?

25. The village and Kurz's headquarters: images of hell. primitive religion, heads on pikes. the spears and arrows, dancing and paint? Religion, ritual and games? A sour Shangri-La? Later images of Jonestown?

26. The nature of heroism? Criteria and expectations for heroism? Whose madness was worst?

27. The eschatological imagery: references to Eliot's world ending with bangs or whimpers? The men painted and covered in mud? Chef's decapitated head? Themes of love and hate, friend or enemy, the rules of the game, horror’s face? Primordial imagery, passion and absence of passion, prophets and avenging angels?

28. The build-up of frenzy, sounds, music, visuals, ritual images, motion, death and extermination?

29. Coppola's decision about the ending? The possibility of Willard becoming another Kurz and continuing his reign? or the reminders of records, files, typewriters, radio communication and escape back to the world of "normality"? Coppola's ending for moving back to humanity?

30. The achievement of the film: as cinema, representing America in the '70s, a comment on the Vietnam war and its effect in Asia and the United States? Its bringing the films on Vietnam to an end?

 

 

BRASSED OFF

UK, 1997, 94 minutes, Colour.
Pete Postlethwaite, Tara Fitzgerald, Ewan McGregor?, Stephen Tompkinson, Philip Jackson, Jim Carter.
Directed by Mark Herman.

Yorkshire gives rise to images of York minster, the countryside, the moors of Wuthering Heights. These days Yorkshire is giving us movie images of the working class becoming the unemployed in funny, sad and, often, raucous and earthy films.

Brassed Off is being marketed as a `feel good' movie. It is. But is also a `feel sad' movie. The colliery in Grimley has been marked for closure although it is still reasonably profitable. Staunch miners are resisting closure. Management is offering redundancy packages that are hard to refuse. In the meantime, the miners have built up a successful colliery band. Should it stop when the mines are closed? Should it stay in competition? Should it go to the finals at the Albert Hall? It is not hard to guess.

However, the screenplay is not always as predictable as expected. There are some tough scenes of families trying to survive without income. These mainly concern Stephen Tompkinson (Fr Clifford of Balleykissangel) and he gives a more nuanced performance than he does on TV. Pete Postlethwaite has a moving role as the band leader who lives intensely for his music. There is plenty of feeling in the film and never more so than at the end when Postlethwaite makes a moving and rousing speech highly critical of Tory policy, of economic rationalist programs that destroy livelihoods and families.

1. The impact of the film in the UK, as entertainment, as social and political comment?

2. The Yorkshire settings? The town, the mines? The realistic atmosphere? The locations?

3. The title, the anger? The humour with the brass band? The range of the musical score, the old band favourites, their placement within the film? The performance as well as the rehearsals?

4. The social situation: the `80s and the `90s in the UK and the closing of the mines? The repercussions for the miners (and their legacy of ill-health)? The repercussions for families? The economics of the towns? Management, their meetings, decisions made two years earlier, public relations? Reports being seen to be done, but not to be seen? The role of the unions, negotiations, compromise? The miners' votes and the redundancies? The tradition of scabs breaking picket lines? A realistic portrayal of social situation?

5. Danny and the long tradition of his work in the mines? His commitment to the music? The long tradition of the brass bands? On his bike, his love of music? His relationship with his son and Phil's family? The rehearsals and his criticisms?

6. Gloria's coming, discussions, accepting her? The rehearsals, going on tour and winning competitions? His collapse, the hospital, listening to the music? Not being allowed out and his sense of frustration? The band members and their wanting to disband? Phil and his breaking the news to his father? The decision to go to the Albert Hall? His conducting the music, the impact of his speech and his comment on the social situation?

7. Andy as a focus of the film? The young man, place in the town, the mines, going for drinks, playing pool? His place in the band? The encounter with Gloria and the memories of the past? Their relationship? His discovering the truth about her work? Being with the men? The vote? Going to London and the performance? Playing to get the money for his instrument? A happy ending? Gloria and her grandfather, coming back to town, working for management, their promises to her, thinking she was doing something with her report? Playing in the band? Going on tour? The relationship with Andy? The report and its being shelved? Her resignation? The reaction of the men, her money for the tour to London? Being accepted back again?

8. Phil and his family, harassed, his wife and her anxiety about money? The children? His being a gentle man? Wanting to buy the new instrument, putting himself in debt? The demands made for repayment? His wife's anger and her taking the children? His being the clown and his performance in the classroom? His father's collapse and his anxiety? The decision not to go to the Albert Hall? His despair, his swearing in his performance as the clown? His attempted suicide? With the men, voting for the redundancy? Their accepting him, the final performance? His wife and children in the bus coming home?

9. Harry and his wife, their work, passing as each went to work or came home? His comments about the name of his instrument? Participation in the group? The temporary leader during Danny's illness? His support of the band?

10. The other men and their work, their friendships, the drinks? The critical man, especially his harshness towards Gloria? His thanking her in the bus?

11. The wives, their life at home, shopping, going on tour? The ironic humour in supporting their husbands?
The picture of the unions? The picture of management and its disdain?

12. An entertaining film - and the aftermath of its social comment?

 

 

 

 

 

GRAN TORINO

US, 2008, 116 minutes, Colour.
Clint Eastwood, Christopher Carley, Bee Vang, Ahney Her, John Carroll Lynch, Scott Eastwood.
Directed by Clint Eastwood.

At age 78, Clint Eastwood had two films in the US National Board of Review's top ten of 2008, The Changeling and Gran Torino. Gran Torino was far more popular at the American Box Office, over $100,000,000 in tickets, which says a great deal about Eastwood's reputation as an actor – or screen presence - even more than as a director.

Gran Torino is an impressive film on many counts.

Nicholas Schenk's screenplay opens up many questions for contemporary American society, especially xenophobia (this time for the Hmong people from China/Laos/Vietnam who, despite fighting alongside the US troops in Vietnam, were not always welcomed when they had to migrate to the US). With an old Detroit neighbourhood setting where Eastwood's Walt Kowalski seems like a relic of different and distant times, the film also takes up themes of gangs and urban violence as well as economic questions like the closing down of car manufacturing plants (while one of Walt's sons working for a car-maker outside the US). And it takes up the question of ageing, especially after the death of a spouse and the loss of emotional contact with children and grandchildren – but how could one love a flimsily dressed teenager who texts during the requiem mass for her grandmother!

The film is framed by funerals and sermons on life and death ('bitter because of grief, sweet because of salvation' according to the young priest). And there are several discussions about the meaning of life and the effect of death between Walt and the persistent priest (because Walt's late wife wanted her husband to go to confession) with Walt telling the priest that he is 'an over-educated, 27 year old virgin who holds old ladies' hands, promising them eternity!', something the priest quotes in his final sermon. Interesting that Clint Eastwood would have a priest and Catholic themes (in a positive rather than critical light) in this film as well as the priest that he goes to Mass to each day and asks for advice in Million Dollar Baby.

You may never have heard an actor or a character growl so much in a film and Eastwood has the perfect grimace and sound for constant growl. You know he is going to get to know his Hmong next door neighbours, but we wonder how and with what consequences. Perhaps it is best simply to say that prejudice is overcome by contact and bigotry by sharing in the lives of those who are initially detested or condemned. Clint's friendship with the young girl next door helps him to understand and socialise. Her quiet, polite teenage brother, provoked by his cousin and a local Hmong group into trying to steal Walt's Gran Torino, learns many a lesson from Walt: hard work, responsibility, how to talk to a girl and, in comic manner, how to do provocative banter and 'man-talk'.

Someone is probably writing a thesis (or has written one) on the dramatic arc of the characters Eastwood has played from The Man with no Name but a gun to this man with a name but sometimes a gun and sometimes not. Dirty Harry (whom everyone quotes when an Eastwood character goes into action) has not lost his anger at injustice but has found other means, which will surprise the audience, to deal with that injustice.

Eastwood knows how to make interesting and entertaining films with excellent craft, never drawing attention to himself, but with something worthwhile to say and be listened to.

1.Listed as one of the best films of 2008? Clint Eastwood’s films, over forty years, as director, actor, character? His themes, especially of justice and violence?

2.The film and race issues, the 21st century, American xenophobia, the conservative attitudes, change?

3.The Michigan setting, Detroit, the suburbs, homes and streets, the change in the neighbourhoods, race ghettos, the gangs, African Americans, Asian? The verbal abuse and insults to the Asians?

4.The photography, the editing, the classic style? The musical score, the final song and the lyrics of ‘Grand Torino’?

5.The title: Michigan and car manufacturing, Detroit, the history of car manufacture, the car in American culture, the changes in the economy? The Grand Torino from the 70s? The later layoffs, the making of foreign cars? Quality cars? The Grand Torino as a symbol, envy, thieving, a final gift?

6.The funeral’s framing the film: the discussions about life and death, the Catholic church and its rituals, Walter standing at the altar, Dorothy’s coffin, his surveying the people attending, his growls, the discussions of his sons and their wives, the family, the granddaughter and her clothes, texting during the ceremony? The priest, his sermon, the bitterness of death, grief? The sweetness of death and salvation? How true did this ring? The right thing to say? Walt’s reaction?

7.The aftermath, the guests, getting the chairs, the granddaughter offering to help, her grandfather’s growling? The garage, the boys and going through the trunk, seeing the photos, the medals, the Korean War, giving information about Walt? The family leaving? The priest, his age, talking with Walt, calling him by name? Walt’s reaction? The issue of confession? His wife wanting it? Walt describing the priest as an over-educated twenty-seven-year-old virgin holding the hands of old ladies and promising them eternity? The priest later repeating this in Walt’s ceremony?

8.Clint Eastwood as Walt, his age, his life, tough, the experience of Korea, his stories, the killings, the medals? Meeting his wife, the love of his life? His not relating well with his sons? With his grandchildren? Wanting to be alone, sitting on the porch, drinking the beer? His workshop and the tools? Thao wanting to borrow the leads, his refusal, later using them? His lawn, mowing it? Watching the family next door, all arriving for the celebration, the hostile looks from the old lady?

9.The background of gangs, Thao’s cousin, the Asian gang, their taunts? The family pressure on Thao, his having to steal the Grand Torino, his being caught?

10.The Hmongs, from Laos, China and Vietnam? On the American side during the Vietnam War, their migration? Not always accepted by Americans? The family, the extended family, the talk, the meal, Thao and their criticising him, being bossed by Sue, his study, reading? The shaman and the ceremony?

11.The gang in action, threatening, the guns, the taunts to the family, Walt and his ordering them off his lawn, threatening, the gun, his finger as a gun? The heroism of warding off the gangs, the gratitude of the neighbourhood, the continued gifts of food, flowers? Walt’s xenophobic reaction? His meeting Sue, rescuing her from the gang, confronting them, telling the white man to go off and not be calling people ‘Bro’? His talk with Sue, the explanation of Thao, the Hmongs and their language, customs, the invitation? His birthday and the phone call to his family?

12.His going to the party, the information about direct looking in eyes, touching children? The shaman and his interest? The amount of food, his becoming more benign? Going downstairs, Thao and his reading, the youngsters, his attack on Thao for his weakness and not inviting the girl out? Talking with her?

13.The family, Thao and his having to work for Walt, to compensate for trying to steal the car? Sue explaining? The variety of jobs, tools and the workshop, the discussions with Thao, respect, friendship, achievement? Thao and his skills, Walt helping? The contact for the job, going for the interview? Going to the shop, buying the tools and the bag? The comedy about men’s talk, Walt and his visit to the barber, the Italian jibes? Bringing Thao in, their illustrating the banter, the barber and his reaction, the performance for Thao? Thao and his response to the builder – and his being accepted? The gang, following Thao, stealing his tools, bashing him?

14.Walt and his illness, phoning his son, not being able to talk? The son, his wife and the visit? The brochure and the home for the elderly? Their being ousted?

15.Walt and his coughing up blood, going to the doctor, surprised at the Asian doctor? His lungs? Thao’s observations?

16.The shooting and the drive-by, the breaking of the glass, the wounding, Thao and his wounds? Unable to contact Sue, her arriving home, the violence and the rape?

17.The character of the priest, his persistence, meeting with Walt, visits to the home, to the bar, his learning about life and death, experience from Walt? Their talks, the seriousness of issues of life and death? Asking Walt about killing, his responsibility? Walt going to the church, the confession, the sins – bothering him for many years? Walt’s preparation for death?

18.The final vengeance, the discussions with the priest, the possibilities of violence, the rifle, the priest and his concern with the police? Walt and his challenge, the confrontation with the cousin, his henchmen? His finger as the gun? Going as if to draw, his being shot to death in front of witnesses? Self-sacrifice – a Christ figure for the sake of the Hmongs?

19.The final Mass, those present, the neighbours, the family? The priest and his repeating of Walt’s comments about him?

20.The will, the anticipation of the family, Walt leaving the Grand Torino to Thao?

21.A film about age, ageing, its effect? The prejudice and the possibility of overcoming prejudice by sharing? Change?

 

 

 

 

 

 

 

 

 

 

 

 

 

FRIDAY THE THIRTEENTH

US, 1980, 95 minutes, Colour.
Betsy Palmer, Adrienne King, Harry Crosby, Kevin Bacon.
Directed by Sean S. Cunningham.

Friday the 13th is now part of cinema history. In 1978, John Carpenter made Halloween and set a trend for popular horror films for the next quarter of a century. Sean S. Cunningham then began the Friday the 13th series in 1980. Wes Craven followed with A Nightmare on Elm Street in 1984.

The film has the basic plot about a summer camp, its past sinister history, the owner reopening it, a series of gory murders, especially of young people who come to the camp. Betsy Palmer portrays the mother of the mad Jason Voorhees, who wore a mask in committing his killings. The Jason mask also became very, very popular.

This film led to a very long series as well as in 2003 to Freddy versus Jason. (And a young Kevin Bacon appears as a camp counsellor.)

1. The reputation of this horror film? Its extraordinary box-office success in the United States, overseas? Its quality? Skill in presenting what it set out to do?

2. The appeal of the horror violent film? Audience revulsion yet fascination? Shuddering and laughing? Shocks. scares? Atmosphere, anticipation? Identifying with the victims, survival, aggression towards the murderer? Nightmares and the value of watching nightmares?

3. The basic 'B' grade material - theme, treatment? How well done? Exploitative?

4. The various devices to entice the audience into response - the manner of tracking shots, editing and cutting, shocks, explicit violence, the use of nature? Darkness and light, shadows? The cumulative effect of the atmosphere? Visuals, aural horror? Musical score?

5. The overall effect of the experience an hour and a half immersed in horror and violence?

6. The basic situation of an unknown killer and the various members of a group being killed? The need for survival? The puzzle as to the murderer? Mystery? The audience being led into participation, puzzle, identification for survival? Aggression in the face of attack?

7. The pre-credits sequence and the 1958 atmosphere? The camp guards? Their enjoying themselves? The barn and the first murder? The transition to 1978? The difference in the styles of the times? Similarities? A foreboding atmosphere?

8. The picture of the town, the twenty years, Camp Crystal Lake and its reputation, the madman in the town, the police and their attitudes? Mrs Voorhees, her presence? The initial death and her vengeance? How credible her motivation, her behaviour, cruelty, her physical presence and violence? Her death?

9. The introduction to Annie. her arrival, joy, hopes for her job, accepting the lift, the atmosphere of fear, her leaping from the truck, her being pursued in the forest? The violence of her death? Setting the tone for what van to follow?

10. The counterbalance with the other members of the group - their individuality, seeing them at work, various types, their responsibility, enjoyment and horseplay? How well delineated their characters? Audience identification? Their work, their rooms, relationships? The preparation for their deaths?

11. The systematic elimination of each of the group? The situations of their deaths? The explicit violence? The audience waiting? The greater foreboding for those who survived? Mystery? How exploitive was the violence? Excessive or in proportion to the theme?

12. The manager and his going to town, his return, the truck breaking down, the unexpectedness of his death?

13. The finale with Alice and her search, the full moon, the rain? The cumulative terror, the pursuit inside and outside the house, within the cupboard? Exhaustion, fighting? The cutting off of Mr. Voorhees's head?

14. Mrs Voorhees and her arrival, welcoming friendship. changing menace? Her strength?

15. Alice going onto the lake, escaping? Her being frightened by the demon child leaping from the river? The nightmare and the hospital sequence? Jason and his vengeance - and his taking over his mother (and her speaking to him and like him) and Alice possibly being possessed by Jason for the future?

16. The value of the horror film? Audiences participating in the horror?

 

 

 

 

 

 

 

 

 

 

 

 

 

FRANKLYN

 

UK, 2008, 98 minutes, Colour.
Eva Green, Ryan Philippe, Sam Riley, Bernard Hill, Art Malik, Kika Markham, Susannah York.
Directed by Gerald Mc Morrow.

 

Tantalising. At least, this is what writer-director, Gerald Mc Morrow, hopes about the beginning of his new film. And, if you are tantalised, you will stay with it, puzzling about the two different worlds we are seeing, then gradually becoming more satisfied as the two worlds come together. But, some may feel exasperated rather than tantalised, finding the two worlds too difficult to understand.

 

This reviewer was tantalised.

 

We are put into two worlds without warning, although the central character in a fantasy city that looks to London's Dickensian past as well as showingfuturistic touches, Meanwhile City, announces that he is on a mission to kill. He wears a mask that is not too far away from Friday 13th or Halloween or even The Elephant Man: white cloth, hollow eye sockets... As he walks down the busy and rather squalid streets of the city, he tells us that religion is the compulsion of the day and that he is the only one without faith. His quest is to destroy The Individual who is responsible for the death of a young girl.

 

Suddenly, we are in contemporary England, then in different sections of London, the world of the rich and psychiatrists, the world of an ordinary young man whose engagement and wedding plans have collapsed and an eccentric young media student who seems to have a death wish.

 

We go backwards and forwards, following the story of Jonathan Preest (Ryan Philippe) in Meanwhile City, his solitary confinement, treatment by the religious police and authority (Art Malik) and his renewal of his mission. The young man, Milo (Sam Riley) also has his problems but encounters a teacher (Eva Green) who was the little girl companion when his father died. The suicidal young woman (also Eva Green) is trying to get the attention of her mother (Susannah York) to admit her father's abuse of her. And a church warden (Bernard Hill) is searching for his son, David, an Iraq veteran who has escaped from treatment at a mental institution.

 

Yes, the characters all come together, we understand the nature of the two worlds, the reality and the imaginative creations of disturbed people.

 

Intriguing.

 

1.The blend of realism and fantasy? Mental states and imagination?

 

2.Mental states, illness, madness, hallucinations, illusions, delusions? Relationships, self-image, violence?

 

3.London as real for each of the central characters, dingy, the suburbs, homes, flats, the hospital? The brighter colour for some sequences? Darker for others? The musical score?

 

4.Meanwhile City: the world of science fiction, fantasy, the buildings, the streets, clothes, manners, shops, barrows, speakers in the street, the masks? The visual impact? The sound impact?

 

5.The importance of the religious theme? Faith, variety of faiths, authoritarian, everybody having to register, faith and the secular aspects, exploitation for example the manicurists? Everybody saying, ‘God bless you’? The faith police and their activities? Prison, missions for vengeance? The authorities and their manner? Meanwhile City in itself, in the light of Jonathan Preest? From the perspective of David?

 

6.The juxtaposition of the two worlds, the revelation of the gradual links between them, people, themes, alternate and parallel worlds? Together?

 

7.Jonathan Preest and the introduction, his mask, revealing that he was to kill someone, the manner of his dress, the dinginess of where he lived? Evading the police and their pursuit? The walking down the street, the vendors, the preachers, his contact? The violence? Getting the information? His mission to kill the Individual? The story of the girl dying, his search, being caught, sentenced, the authorities, isolation, the passing of the four years? His voice-over commentary? The authorities and their faces? Letting him go, his changing his clothes, wanting to put the bug inside him, his escape? Tracking down his contact, the mission for vengeance?

 

8.Milo’s story: his mother, Milo as a young boy, his father’s death and his grief, the imaginary Sally being a playmate? The flashbacks showing this? The failure of his wedding, his discussions with his best man, his girlfriend? The worry? Discussions with his mother? Her revealing the truth about his imagination? Seeing Sally, finding her at the school, talking, planning to meet her again? His mother and the photo album? In the restaurant, waiting for Sally, her appearance, the discussion, Peter watching, Milo arguing with her, her explanations and stories, her leaving, his being shot?

 

9.Amelia’s story: with the psychologist and her mother, her smoking, anger, the exchange role-plays and the attempts to understand each other? Her interest in art, professional, academic, her suicide attempts and their motivation, for her mother? Making the film, labelling the cassettes, her studio? Herself on the monitor, conversation with herself? Her set-up of the suicide attempt, its style, the ambulance coming, her explanations? Pastor Bone and his work in the hospital, his arrangement with her, the discussion, advice? Her meeting the professor and his critique of her work? Her mother and the party, not wanting to interrupt the guests, wanting her mother to admit the truth about her father’s treatment of her, the mother’s comments, embracing her mother? Some healing? Going back to the studio, David arriving, his rifle, the threats, her turning on the gas, David getting her out, the explosion? Her meeting Milo in the street? A future?

 

10.Peter, from the country, Milo and the wedding and their leaving, his being the warden? The information about David’s visit, going to London, the search, meeting his war companion from Iraq, learning more about David, the doctors and the institution, David’s actual experiences and the escape from the institution, the danger? Peter and the address, waiting in the restaurant, watching Milo, the shooting, the explosion?

 

11.David, the true story, the audience beginning to understand the relationship between Preest and David? About the events in Meanwhile City and in the real London? The friend, the return from Iraq, into the institution, retreating into his inner world, translating everything to Preest, blaming his father for his sister’s death, his making his father the individual? The religious motivation? His moments of knowing the truth, especially talking to Amelia? The shooting, hitting Milo, the explosion and his death?

 

12.Pastor Bone, enigmatic, in both worlds? With Amelia? With Peter praying in the chapel?

 

13.The world of the two stories, the world of imagination, the discussions about fairy stories – and happy and unhappy endings?

 

 

 

 

 

 

 

 

 

FLAME AND CITRON
(Denmark, 2008, d. Ole Christian Madsen)

World War II stories are still very popular on screen. Germany continues to make them (Downfall and the recent John Rabe). The Austrians made The Oscar-winning The Counterfeiters. The American contributions range from the serious Valkyrie to Tarantino's Inglourious Basterds. Smaller countries are also making memoirs of the war era and focusing on their Resistance. Paul Verhoeven's The Black Book did this for Holland. Flame and Citron is in the same vein and does it for Denmark.

Flame and Citron is a continually interesting film. Audiences outside Denmark do not know the impact these two men, Flame (because of his red hair) and Citron (because he had worked for Citroen), made in their Resistance actoivities in 1944 and the subsequent state honours and funerals they received as well as American medals.

The film opens with a voiceover from Bent (Flame was his codename) about the presence of the Nazis in Copenhagen in 1944. There is newsreel footage to remind us of Denmark's occupation. Almost immediately, there is an assassination of a Danish Nazi sympathiser. Flame, although only in his early 20s and working for the police, is one of the Resistance's chief killers. He is played by Thure Lindhardt . Jorgen (codename Citroen) is the driver who will soon have to kill as well. He is played by top Danish actor (Mads Mikkelson: After the Wedding and internationally known as Le Chiffre in Casino Royale).

The events in the film take place over six months. The film builds up an atmosphere of tension, especially when seemingly contradictory orders are issued. The Resistance is controlled by the Copenhagen police chief who is under orders from Britain. However, visits to neutral Stockholm are not so difficult, so there are orders from the Resistance movement there, including not killing Germans but only Danish Nazis or collaborators. When Flame and Citron are ordered to kill Germans and when Flame encounters a young woman who knows his name and, despite wondering whether she is a spy for the Germans, falls in love with her, the film creates tension for the audience who does not know whom to believe.

There is a back story for Citron, a seeming loner who has a wife and daughter. Flame is caught up with the mysterious woman. Because of betrayals and executions, they decide that the principal target should be the Gestapo chief in Copenhagen (Christian Berkel).

Quite long, with plenty of local atmosphere and a reminder of the ambiguous ethics of resistance movements, this is a worthwhile World War II film.

 

 

 

THE CREW
(UK, 2008, d. Adrian Vitoria)

For more than ten years, many film-makers in the British film industry have had a fixation on making gangster films. So many small budget films, so many from first time directors. They tend to show a brutal side of British life, an amoral world of criminals. Some of them have qualities but the films tend to be lost in the welter of similar productions.

The Crew is another of these films. However, it is better made than the average. The director has worked on television series and knows how to tell a story and create atmosphere. This atmosphere is Liverpool and the old style crews who were into burglary and hold-ups, who even had their own hierarchies and codes of respect, some honour among thieves. In the 21st century, things are not the same at all. The younger members of the crews want to make it big for themselves and have few qualms about loyalty and betrayal and murder of rivals does not seem to bother them at all. Their trouble is they think they are smarter than others and this is their undoing unless they are completely ruthless. Another complication is the gangs moving in from the continent, especially from Eastern Europe, who have had longer histories of factions, war and brutality and have no qualms about muscling in in new territories. It's no wonder that the criminals from the old school are either bent on consolidating, no matter what, or are sick of it and want out.

That is what The Crew is about. It opens with a failed robbery. It ends with an elaborate repeat of the robbery with success for some and death for others.
The film captures an atmosphere of a part of Liverpool. The criminals are now better off, live in better houses and apartments – and can celebrate the First Communion party of the son of one of their members. It looks as if the Serbs have the sleazier locations and premises.

This is also the story of two brothers, Ged and John Paul Brennan (Scot Williams and Kenny Doughty). Ged is the boss of the crew, but who feels that his luck is running out and now feels some responsibility towards his little boy. His wife has a cocaine habit and is easily misled by smooth-talking neighbours, as is Ged, who are white collar fraud criminals. John Paul (nicknamed Ratter) is envious of his older brother and, along with an obnoxious sidekick (Paul Olivier) sets calamity in motion with his wanting to get into drug dealing and to oust his brother.
All of the characters have their unpleasant side and it is hard to identify with any of them, which means that the audience is observing rather than empathising. The screenplay does not underplay the vicious violence, the sexual indulgence of the characters nor their callow and crass language.

One of the better films of the genre but many will find its characters and situations repellent.

CONFESSIONS OF A SHOPAHOLIC
(US, 2009. d. P.J.Hogan)

Probably the most balanced review for this light romantic comedy would come from a person who is neither mean nor extravagant when they go shopping. Since this reviewer is a 'scroogeaholic', then spending 100 minutes with a young woman who can't say no to a dress, a bag, a pair of shoes, a scarf or any number of accessories and can put her head down with the best (or worst) of them stampeding the doors of a bargain sale, is not necessarily what I would choose to watch.

But, here it is in this age of fashion and Sex and the City and arriving during the credit crunch (and more sales!).

Since it has been directed by P.J.Hogan who has shown how he can make comedies about obsessed young woman that make you sit up and take notice (Muriel's Wedding, My Best Friend's Wedding), then one has high hopes.

The film is blessed with Isla Fisher who can do ditzy with intimations of sense (deep down admittedly, but possible). She has glided through life exhilarated by buying (and even imagines shop mannequins giving her advice or trying to entice her) but there comes a time. Debt collectors begin stalking. Credit cards are no longer valid. Cash is scarce. What is a temporarily-poor-middle-class-ambitious-writer-girl to do?
She can turn out an article intended for a fashion magazine and put it in the wrong envelope so that she is interviewed by a finance editor – who (fate, destiny, karma?) happened to give her the remaining money when she could not pay for a green scarf she coveted. Since she becomes a hit writer using day-by-day images to explain finance, she has to lead a double life of expertise and failure (even going to Shopaholics Anonymous meetings – and ruining member's resolutions). She falls out with her flatmate, wants to borrow money from her parents (John Goodman and Joan Cusack), pretends that the debt collector is a stalker. Then, of course, it all comes undone. But...

Hugh Dancy is in what used to be a Hugh Grant role. He has the charm – but, probably, more dramatic ability than Grant. Who should be cast as the elitist fashion arbiter and editor but Kristin Scott Thomas, with a mock French English accent and stealing the scenes she appears in. John Lithgow and Julie Hagerty also turn up, so there is a strong cast.

But, this is the kind of film that has its cake while it eats it. Shopaholicism is bad – but aren't the temptations wonderful!

 

 

 

CADILLAC RECORDS

US, 2008, 109 minutes, Colour.
Adrienne Brody, Jeffrey Wright, Gabrielle Union, Columbus Short, Cedric the Entertainer, Emmanuelle Chriqui, Eamonn Walker, Moss Def, Beyonce Knowles, Tammy Blanchard, Eric Bogosian, Jay O. Sanders, Norman Reddus.
Directed by Darnell Martin.

You would need to be a devotee of old style rock and roll to be interested in this film and enjoy it. It is the story of the Chess label, established by Leonard Chess and in the 1940s but coming into its own in the 1950s and the managers' ability to search out and pick out the talented artists. They were at the centre of the black rock and roll talent of the times, especially with Chuck Berry.

Having said that, I wish the film was more interesting than it is. It is rather piecemeal and relies a lot on the audience's knowledge and patience. It is more like a collection of snapshots than a dramatic narrative. Adrien Brody is Leonard Chess, a young man who built himself up from menial jobs to club manager to entrepreneur. Jeffrey Wright is co-founder, Muddy Waters, who started in the cotton fields of Mississippi. Mos Def does a fine impersonation of Chuck Berry and Byonce Knowles is Etta James singing her song, At Last, (which Beyonce also sang at President Obama's Inauguration Ball.

Otherwise the film is the same old, same old: aspiring artists with some talent, hard times, opportunities, bickering, drugs, womanising, collapse and, sometimes, starting again. This is all punctuated with the music and songs themselves.

1.The 20th century American music history, the industry? Phases, innovations, changes and perspectives?

2.Chess Records’ history, Leonard Chess and Muddy Waters? Audience knowledge of the personalities, of the artists, music and songs, rock ‘n roll? These characters inducted into the Rock ‘n Roll Hall of Fame?

3.The period from the 40s to the 60s? The World War Two era and the prologue in Chicago, the Chess family and the junkyard? The sharecroppers in Mississippi? The transition to the 50s and 60s with clubs, studios, wealth, records, performance? The rock ‘n roll era?

4.Leonard Chess and his family, Polish- Jewish, the junkyard, his girlfriend’s parents, his wanting to prove himself, obtaining the club and prospering?

5.Alan Lomax, the music archives, going to Mississippi, Muddy Waters as a sharecropper, singing for the recording?

6.Muddy Waters going to Chicago, meeting Leonard Chess? With Little Walter? His playing the harmonica? The build-up of the studio, contracts, the studio itself? Recordings? Walter as a success?

7.Willie Dixon, his contribution to the music, his songs, providing the voice-over commentary? Helping Muddy Waters with his image, with women?

8.The personality of Howlin’ Wolf, his performance, his voice register, the confrontations, his demands, success?

9.Geneva, in herself, as Muddy Waters’ wife, living with his reputation, the groupie and the baby, the pressure on her? Her response?

10.Issues of temperament, talent, ability? Little Walter, the police bashing, separating from Chess, going out on his own?

11.Chuck Berry, his idiosyncratic style, talent, performances, dances, on the charts? Audience excitement, mixed-race response to his concerts? The presence of the police? The audience dancing on the stage? The issue of the Beach Boys plagiarising his song? Sexual difficulties, minors, spending time in jail?

12.Etta James and Beyonce taking the role? Her appearance, talent, her singing, the impact on Chess, their relationship, her background, her prostitute mother, her drug dependence, her needing to be rescued? Her songs?

13.Chess and the passing of the years, his work, eye for talent, success, the charts, the difficulties for his family, his wife, the relationship with Etta? His reputation, the decline of the studios? The visit of the Rolling Stones?

14.Decline, Etta and her overdose, Leonard and his infatuation, the racist attack? Etta’s song, the recording, his anger, the destruction of the studio?

15.The aftermath, Willie Dixon taking Muddy Waters to London?

16.The final information, the role of these personalities and their contribution to 20th century American music?

 

 

 

ALIEN

 

US, 1979, 124 minutes, Colour.
Tom Skerritt, Sigourney Weaver, Veronica Cartwright, Harry Dean Stanton, John Hurt, Ian Holm, Yaphet Kotto.
Directed by Ridley Scott.

 

Alien was first released in 1979 and made a strong impact with its focus on space horror ('in space no one can hear your scream') just two years after the release of Star Wars.

 

Alien boasts excellent space-voyaging vehicles and effects seen in great technological detail. However, the plot is traditional horror, combining the Old Dark House, disappearing characters (a huge 7 crew spaceship has numerous eerie long corridors) and lurking monster (some ugly, scary touches and lots of ooze) and a gradually accelerating pace (after suspenseful slow tracking shots and ominous close-ups as the alien is searched for) until heroine Sigourney Weaver shows that the men, led by Tom Skerritt, don't have the monopoly on heroics. John Hurt and Ian Holm must have enjoyed themselves indulging in space horror, Holm as the android and Hurt with the famous monster exploding from his stomach.. Director Ridley Scott had made only commercials and The Duellists at this stage of his career. He went on to make some classics in other genres: Blade Runner, Thelma and Louise, Gladiator. This time he set out to scare and awe a vast audience and does.

 

He worked on a Director's cut in 2003, improving the soundtrack and adding about five minutes of extra footage, mainly scenes which he had originally trimmed.

 

1. Interesting, enjoyable? Overall impact? A film of 1979: space exploration, technology? Space and horror combined?

 

2. The technical impact of the film: the visualising of space, space ships, the interior in such detail of the space ship? The visual presentation of life in space, the sounds? Colour, decor? The contribution of the score and its atmospherics? The foreign planet, the visualising of the alien, its variety of appearances, blood, ooze? The contribution of the special effects?

 

3. The pace of the film: the measured introduction, the transition to ordinary life of human beings, the extraordinary exploration, the slowing of the pace with the puzzling over the alien, the build up to suspense and the long, slow tracking shots and fear? The final speeding up with the chase, the hurry for the blasting off from the space ship and its explosion? The effects for shocks,, scares? The detail in close-ups and tracking shots for audience involvement?

 

4. The horror origins of the basic plot: the old dark house with its group of guests and dark corridors, the hidden monster and the sudden deaths, the elimination of the individuals. survival? Monster movies and stories? The red herrings, especially with the cat? The adaptation of horror conventions to the space trends of the '70s?

 

5. The importance of the space ship, the Nostromo and the overtones of Joseph Conrad? The audience knowing the space ship well, its various rooms, technologies, computers? The fact that it ultimately was destroyed? The space ship as the environment in space? The background of the commercial company, the multi-national and sinister background? The ordinary mission for oil refineries and the secret mission for getting the alien back to Earth? The irony of the computer's name as 'Mother' and the feminine voice? The hierarchy in the crew? The personalities, relationships? The substitution of a man by a robot and the control during the mission? The sinister aspects of such exploration?

 

6. The opening sequences and the introduction of the audience to the space ship? The ritual of waking up? The transition to the goodfellowship of the meals, the ordinary work, the haggling about money, contracts? Each character representing a type? Dallas as the strong American leader type, the making of decisions? Ripley and the Jane Fonda-tough woman of the '70s, strength, know-how, decisive? Lambert and her skills, her capacity for being afraid? Ashe as the science officer, impersonal, ultimately revealed as a robot? Kane as the ordinary man, the leader of exploration and the volunteer, the first victim? Brett and Parker as the collaborative workers, one black, one white? Brett and his comment, "Right" to everything?

 

7. The new signals, the orders, the visit to the foreign planet, the sinister landing, the details of exploration, the strange building, the interior with its ritual-looking decoration? Fear in exploration? Kane and his volunteering? His comment on seeing the alien, its organic meat look, the sudden seizing of him? The transition to the octopus-like growth on his face? The parasite emerging from his stomach? The gradual growth and monstrous look of the alien, the devouring, huge monster, the close-up of fangs, ooze? The finale and the monster? The perfect organism with matching hostility? The continued presence of the alien, its
hiding, attacking, its attacking human beings and the audience responding like the crew to the presence of the alien?

 

8. Kane and the medical exploration, the ugliness of the alien and its acid blood? The transition to Kane's recovery, the meal and the sudden agony and the shock emerging of the parasite? The pathos of his burial in space?

 

9. The screenplay's attention to strategies, fears, the elaboration of machines to detect the alien, the long sequences of search? The focus on Brett and the long tracking sequences, the scares with the cat, his ultimately being overwhelmed by the alien?

 

10. Dallas and his leadership, courage, communication, final confrontation, all signalled by the computer with the approach of the alien? His being trapped and begging for death?

 

11. Ashe and his opening the door to let the alien in, his assistance with the medical examination, his sitting surveying in the pilot's seat, his clash with Ripley about the program? The confrontation and his being revealed as a robot, the ooze, the decapitation, the body, the plugging in of the head and his speaking from the floor, his final destruction? Audience response to Ashe as robot?

 

12. Lambert and Parker as surviving, planning to leave on the emergency ship? Their busyness? The confrontation with the alien, the menace to Lambert, the attack on Parker and their deaths?

 

13. The effect of Ripley being left alone? Her control, her rank in the hierarchy, her initial ordering the door not to be opened? Tough, feminine? Her fears, ability to think and manoeuvre? Her trying to interrogate Mother? Her decision to abandon the space ship, the detailed plans, the time element? The rescue of the cat, blast off and the exploding of the ship? The inevitability of the alien being aboard the second craft? Ripley's being relaxed, changing for hibernation, the confrontation by the alien, her getting into the space suit and her final strategies to eliminate the alien? The final tape and the completion of the mission? The choice of Ripley as the character to win and survive?

 

14. The appeal of science fiction, the imagination of science fantasy, anticipation of the future, anticipation of the present? The value of space exploration, fears, possibilities? Man and the confrontation of space, the group? The totalitarian and capitalistic use of people in the space future?

 

15. The appeal of horror films: scares, shock, the shadow side of the human spirit?