THE GIRL IN THE FOG/ LA RAGAZZA NELLA NEBBIA

Italy, 2017, 128 minutes, Colour.
Toni Servillo, Alessio Boni, Lorenzo Richelmy, Daniela Pizza, Thierry Toscan, Ekatharina Buscemi, Greta Scacchi, Jean Reno.
Directed by Donato Carrisi.

This is an Italian investigative thriller, based on a novel by the screenwriter and director of this film, Donato Carrisi. His subsequent film, 2019, into the Labyrinth, was another investigative thriller starring Dustin Hoffman and the star of this film, Tony Servillo.

The framework of the narrative is a psychiatrist living in a secluded village woken and having to interview the visiting detective who has been involved in an accident. The narrative goes back then to the period before Christmas, the special traditionalist Confraternity in the town, a young girl leaving her parents’ home and suddenly disappearing outside it.

The detective, played by Tony Servillo, in his superior manner (as Andreotti in Il Divo, as the star of The Great Beauty), is an arrogant man, sure of himself, fond of the media, getting clues, letting others indicate clues.

The main suspect is a teacher who has come to the town six months earlier with his wife and daughter. He is seen in class. On the day of the girl’s disappearance he went hiking in the mountains. A young man in the town who was obsessed with the girl who disappeared filmed her and the teacher’s car appears in the film. He becomes the main suspect. He is arrested but then let go.

The film is intriguing with its range of characters and their interactions. Audiences will be wanting to pick up any of the clues to find the solution. Towards the end, there is a guest appearance by Greta Scacchi as a journalist who reveals a serious serial killer from 30 years earlier – and who pleads for the innocence of the teacher.

Jean Reno plays the psychiatrist – and the end of the film indicates that he could be the killer, the re-enactment of the abduction by the teacher may be real but in the mind of the detective…

1. An Italian murder mystery? Detective story? Psychological story? Investigation? Detection? Leads? Media? Alternate solutions?

2. The film’s director and his writing the novel and the screenplay?

3. The setting, the mountains, the town, its isolation, the road coming in and the only one going out? The roads? Homes, the school, the Confraternity and its gatherings? Press conferences? The musical score?

4. The title, the girl at Christmas, leaving home, going to the Confraternity, her disappearance? The issue of the cat? Her body disappearing? Her two diaries? Her room? The finding of her backpack?

5. The religious atmosphere, the owner of the hotel, his cross, the hotel closing, the members of the confraternity, the parents, the meetings, the traditionalist agenda?

6. The framework of the narrative, the detective and his accident, not injured, the drops of blood? The rousing of the psychiatrist from bed, the interview, the range of discussions, the material in flashback? The background of the psychiatrist, his fishing, his trophies, catching the one fish? His heart attack, his retirement to the town? 30 years passing?

7. The story of the young girl, 16, at school, Priscilla as her friend, Mattia and the puzzle about his interest, filming her? Protecting her? Her room, the two diaries, concealed from her mother, the boy, Oliver, from summer?

8. The detective, his presence in manner, haughty? His assistant and their working together? The media, Stella and her communications and leads? The mysterious Beatrice Leman? Her detection in the past, the diary, the contact with the detective? Their interview, her wanting the truth? The story of the murders 30 years earlier, the serial killer?

9. The transition to the story of the teacher, the move to the town six months earlier, the daughter not willing, missing her friends, the mother loyal to her husband? His teaching at the school, literature? His return after the suspicions, his class about mystery, victims, the detective coming in and applauding? Priscilla, wanting to act, asking for the teacher’s advice and his agreeing? Her later being interviewed? Mattia at the back of the class?

10. The teacher going hunting for the day, in the mountains? His return, his injured hand? His being under suspicion? The encounters with the detective, the discussions, the issue of vanity as a vice? His taking off his beard? Injuring his hand? The arrest, in custody, the media, the attacks? His release?

11. The detective, under suspicion, taking the diary, his associate taking the diary? Under arrest?

12. The mystery of the ending? In realistic terms? In imaginative terms? The psychiatrist as the serial killer? As the killer of the girl in the present? (And the images of his heart attack on the beach, the second image and his being with the girl?) The teacher, the visualising of his attack, the issue of the cat, the finding of the backpack, the teacher actually killing the girl – or in the mind of the detective? The role of the detective, his imperious manner, arrogance, solving the mystery, the accusation of the teacher – and the suggestion that he drove away, return to kill the teacher?

13. How important to have a definite solution? Or various possibilities?

ALI & CAVETT: THE TALE OF THE TAPES

US, 2018, 95 minutes, Colour.
Directed by Robert S.Bader.

This is a documentary for fans of Muhammad Ali. Those were not his fans or who do not know much about him will find the documentary intriguing and, concerning Ali himself, revelatory.

The film was prepared by television host, Dick Cavett, popular in the 1960s and into the 1970s on American evening television. Cavett, in his 80s, has collaborated in the writing and preparation of the clips with his longtime collaborator, Robert S. Bader.

Dick Cavett, appearing very youthful in the clips – and, much older in the accompanying interviews from the present, connected well with Muhammad Ali. Ali appeared frequently on his show, quite a lot of banter, a lot of information, a lot of commentary and criticism, especially in his crisis about the call up for the Vietnam war and his being banned from boxing for three years in the prime of his boxing life.

There are quite a number of clips, more than might be expected, of Ali, talking about his rather middle-class upbringing in Louisville, Kentucky, his parents, his education, his boxing talent – leading him to win gold at the Rome Olympics in 1960. There is an outline of his bouts before that in the lead up to his Olympic presence, with Sonny Liston, and then his defending his world championship during the first part of the 1960s.

There is also a great deal about his interest in Islam, the contact with Elijah Muhammad and Cassius Clay changing his name to Muhammad Ali. There are also his contacts with Malcolm X. Both of these Muslim leaders are featured in clips during the film.

There are also interviews with quite a number of celebrities and observers at the time, including his longtime trainer, Angelo Dundee – and the comment that his entourage, trainer, manager, publicist rule white.

Particularly interesting and the numerous comments and observations by Rev Al Sharpton, Louis Farrakhan, along with appearances by Norman Mailer, Sugar Ray Robinson,, Howard Cosell and various biographers and sportswriters.

Which means then that in the early 1960s, and with some witness from Martin Luther King, the film highlights Ali’s dilemmas, his personal beliefs, his encounters with Elijah Muhammad, the role of the Nation of Islam, falling out with him, the assassination of Malcolm X.

This also material on his stances about the Vietnam war, his conscientious objection, is claiming to be a minister of the Nation of Islam, the court appearances, the Supreme Court and its decisions.

His rival, Joe Frazier, also appears a number of times with Dick Cavett and some entertaining rivalry between the two as well as some serious differences of opinion. There is reference to Zaire and the Rumble in the Jungle with George Foreman but not such an emphasis on it.

Ali himself appeared in films, including The Greatest. And he was impersonated by Will Smith very effectively in Michael Mann’s feature film, Ali.

SHIELD FOR MURDER

US, 1954, 81 minutes, Black and white.
Edmond O' Brien, John Agar, Marla English, Emile Meyer, Carolyn Jones, Claude Akins, Lawrence Ryle, William Schallert Vito Scotti, Richard Deacon.
Directed by Howard Koch and Edmond O' Brien.

Shield for Murder is quite a striking supporting feature, starring Edmond O’ Brien, co-directed by him with producer, Howard Koch. Strong black-and-white photography, angles from below, highlighting faces and character.

The film opens with the murder, the audience shocked at the behaviour of Edmond O’ Brien is Barney Nelson, his killing the man in the alley, taking the money, then asserting that he was a police officer and had killed the man in his attempt to escape.

The film is a portrait of a middle-aged man, his moral collapse, his obsession with a younger woman who worked at a bar, his prim forbidding her to dress and act as a cigarette girl, his taking her to a model home that he would like to buy for her – where he also hides the money.

John Agar is a young man whom he befriended when the boy was young and a potential criminal. He has now grown into a serious-minded police officer and detective. Ultimately, after believing in Barney, he is the one to confront him.

There is an interesting range of characters in supporting aspects of the plot, Carolyn Jones giving a strong performance as the woman in the bar that he encounters, Vito Scotti as the cook and the staff of the bar where Barney drinks and behaves violently, a young man brought into the police precinct paralleling the experience of Mark in the past, the deaf mute who witnesses the crime, writes his testimony, is killed by Barney.

(Edmond O’ Brien won a Best Supporting Actor Oscar that same year for The Barefoot Contessa.)
While of its time, it stands up well in later decades.

1. The title? The title? Police investigation? Corrupt policeman and motivation? Using his police badge as a shield for his crimes

2. A film of the 1950s? Black-and-white photography? Atmosphere? The lower angles of the camera for focusing on faces? Close-ups? Compositions? The musical score?

3. Edmond O’ Brien, a star vehicle, his co-directing? His winning an Oscar that same year?

4. Barney Nelson, years of service, age, disillusionment, his help from Mark in the past, their friendship? Money difficulties? Connection with the criminals? The encounter in the alley, shooting his victim, taking the money? The irony that he was seen – by the deaf mute?

5. His calling the police, his cover, shooting the man resisting? At the office, policeman friends, police suspicions? The captain and his not wanting police to be blamed? The investigation? Relying on Mark?

6. Barney, his private life, relationship with Patty, her work at the club, well-known there, his stopping her being a cigarette girl? The relationship? Her devotion to him? Her friendship with Mark? Barney taking her to see the model house, intention to buy it for her, his being pleased with her response, his hiding the money?

7. The criminals, the chief, hiring detectives, characters, strong-arm tactics on Barney? His response? Violent encounters? The Chief wanting his money back? The deals with Barney?

8. The deaf mute, coming to the police station, writing the note? Barney taking charge, going to his apartment, the man having written his witness, Barney pushing him, his death, covering the fingerprints, pushing him down the stairs? Mark, the investigation, finding the witness statement?

9. Barney, the time with Patty, inviting her to go with him? Her hesitation, his striking her? Mark looking for her, her disappearance? Trying to help Barney?

10. Barney, drinking in the bar, the portrait of the woman talking with him, coming onto him, wanting to eat?

11. The young man brought into the precinct, the parallel with Mark in the past, offering him a chance?

12. Barney, the disappearance, the role of the Captain, the police force, the range of police to find him? His changing into his uniform? Participating in the search? The police holding him up, his response? The violence?

13. The car, his going to the house, recovering the money, the confrontation with Mark?

14. The downfall of a police officer?

CHILD OF MANHATTAN

US, 1933, 70 minutes, Black and white.
Nancy Carroll, John Boles, Buck Jones, Jessie Ralph, Jane Darwell, Betty Grable, Nat Pendleton.
Directed by Edward Buzzell.

A classic film of the early 1930s. Pre-Code?. It is more open in situation and dialogue than the prescriptions of the Motion Picture Code.

The film is an adaptation of a stage play from Broadway by playwright and later screenwriter and director, Preston Sturges (Hail be Conquering Hero, Miracle of Morgan’s Creek…). The film has a rather solemn title. In fact, the child, is a hostess at a 10 cents a dance Dance Hall, called Love Land.

She is Madeleine, played with enormous verve by Nancy Carroll. Her Irish mother is played by Jane Darwell, later to win an Oscar for The Grapes of Wrath. There is a brief glimpse of Madeleine’s sister played by Betty Grable.

John Bowles, always solemn, plays Paul Vanderkiller, a wealthy New Yorker who inherited his money from his great-grandfather, from farms sold for the establishment of Manhattan. So, he too is a child of Manhattan. His prim aunt is suspicious about the Dance Hall, especially suspecting that nude women cavort there. He goes to inspect, encounters Madeleine, falls for her, gives her money, buys her lavish clothes and gifts, invites her to be his mistress. With some reservations, she accepts, dismissed by her mother and brother.

While things seem idyllic, she becomes pregnant, not wanting to pin Paul down. When the baby dies, she decides to disappear after Paul had offered to marry her. She goes to Mexico for a divorce, accompanied by the German lady who supervise the girls at the dance hall, the first film for comedian, Jessie Ralph, who makes quite an impression. In Mexico, she encounters the owner of a silver mine, Buck Jones, who had previously proposed to her at the dance hall.

The lawyer who organises her divorce adds a huge alimony clause which disturbs Paul who has been searching for her. When Madeleine discovers the clause, she decides that she should marry the prospector even though she does not love him and he is aware of this.

Just as the wedding is to proceed, Paul arrives from New York, Madeleine admitting her love for him, the prospector overhearing – and a happy ending with a re-marriage.

The relationship between Madeleine and Paul is made quite explicit in the dialogue, something not so explicit in later films, such as the variation of the theme with Stella Dallas (which also starred John Boles).

(Contemporary sensitivities: At the end, Jessie Ralph refers to ‘the coloured man in the woodpile’.)

LINE OF DUTY

US, 2019, 98 minutes, Colour.
Aaron Eckhart, Courtney Eaton, Ben Mc Kenzie, Giancarlo Esposito, Dina Meyer, Jessica Lu.
Directed by Steven C. Miller.

Line of Duty is a police thriller, which, one hopes, is very far-fetched, the elaborate chases throughout the city, in the home, Birmingham, Alabama, on foot, by car, crashes, shootouts. The film was directed by Steven C. Miller who directed a number of action films including Arsenal, Marauders.

The film offers a star turn by Aaron Eckhart, as a policeman, Frank Penny, who has shot a child in the line of duty, is looked down on by the fellow police. Giancarlo Esposito is the police chief, concerned about the abduction of his young daughter and the time limit for her rescue, hoping to arrest the criminal in an elaborate setup but his escaping. Frank Penny then pursues him on an extensive chase through the city, traps him, the criminal pulling a gun and Frank shooting him.

Because of his past, Frank wants to continue the action to rescue the little girl, the criminal’s brother emerging, literally guns blazing, chases and shootouts in the city streets. There is a final confrontation in an old house, explosives, a helicopter rescue, a fight in the helicopter and a fall.

The film also focuses on young people with phone cameras, linking up with social media contacts, information also taken on by the networks. Courtney Eaton (Australian actress from Western Australia) links up with Frank Penny, wanting to walk in his shoes, get the footage of the chase, gradually realising the dangers of his work, willing to participate, helping the rescue.

Which means then that social media can impede police work – but with extensions, possibilities for research, gathering a wide audience who can come to the aid of police.

1. Title? Police work? Procedures? Shooting, an internal investigation? Consequences?

2. Birmingham, Alabama, the city, buildings and overviews, streets, elaborate car Chase, the pursuit through lanes and buildings? Interiors? The cemetery? The musical score

3. Action taking place in seeming real-time, the sense of urgency? Editing and pace?

4. Frank Penny getting up his exercise, life at home? Going to work, the street corner, chatting with the young boy and encouraging him? The information about the chase? Ordered to keep out? The animosity from the Chief? The pursuit, the information on the radio, pursuing the chase on foot, getting the car, the car pursuits? Trapping the criminal in the lane? Pulling his gun? Penny shooting him? The reaction of the Chief? His handing in his gun?

5. The focus on Ava, age, enthusiasm, the collaboration with Clover, the TV work, camera, interviews?

6. The film’s focus on social media, phone cameras, handheld cameras, on the spot, filming everything? The link to a studio, editing? The networks getting the information, images, using and exploiting? Interfering with police work? Yet the collaboration of everyone at the cemetery at the end?

7. Ava, pursuing Frank, his reactions, hostility? Her suspicions? His reputation of having killed the boy? Television asking if he would kill another child?

8. Frank in action, Ava and her participation, continued filming? Walking in his shoes? Her learning more? Clover and her doing research and getting information and addresses? Travelling through the streets, the building, the bodybuilder, the fight, information about the passport documents? Another address? Ava able to give the address to the networks and to the police?

9. The background to the Chief, the abduction of his daughter, the time limit, her drowning? The two criminals, the death of their sister, the police raid, blaming the Chief? The initial set up of the watch, the focus on the criminal, high contact, his running away, the pursuit?

10. Dean the killer, avenging the death of his brother, memories of his sister, all guns blazing? The car, in the street, the drivers, the bystanders? Pursuit of Frank, the fights? The police arriving, shooting so many police?

11. In the building, the family house, the basement and the skeleton, the bombs, the tripwire? Ava, the dangers, her staying with Frank, the filming? Dean’s arrival, the fights, the roof, the explosion, the helicopter, rescue, fight, Dean falling to his death?

12. Frank and his regrets, not doing enough, his finding the sister’s skeleton, the clue for the cemetery, hastening to the cemetery, the information, digging up the coffin, the rescue, restoring the daughter to her father?

13. The role of the police? The role of the media? Interference? Support?

14. In such mayhem on the streets of an American city, guns, deaths?

LE DAIM/DEERSKIN

France, 2019, 77 minutes, Colour.
Jean Dujardin, Adele Haenel, Albert Delpy, Marie Bunel, Pierre Gommrt.
Directed by Quentin Dupieux.

This very brief film is designed for audiences who are looking for and appreciate what might be called cinema of the absurd. They probably won’t be disappointed.

Many will want to watch this film because of its star, Jean Dujardin, the popular French actor who won an Academy award for Best Actor in The Artist (2011). They don’t know what they are in for!

In one sense, this is a film about a middle-age crisis – certainly a very unusual style of crisis with completely unexpected consequences. Jean Dujardin is Georges, suddenly introduced driving a car, filling up with petrol, taking off his jacket, stuffing it down the service station’s toilet bowl, flooding overflow, and his driving off carefree. But, that is only the beginning.

However, in a brief prologue, three young people are filmed, taking off their jackets, speaking to camera and swearing that they will never wear a jacket ever again in their life and putting their jacket in the boot of a car. That sequence will recur later, with full meaning. But it does give a clue to the theme and its absurdity, what might be called the dejacketisation of the world. Georges has an extreme abhorrence to jackets but say the least.

It is difficult to say more about the plot in a film review. Its impact relies on audiences not really knowing what will happen next or where the screenplay is going. But, there are strong clues as Georges drives into the mountains, finds an old man who has advertised a deerskin jacket which Georges covets, pays thousands of euros for, drives off happily, especially with a video camera which the old man throws in as a bonus.

By this time, we gather that Georges is an extreme narcissist, admiring the coat, admiring himself in the coat, continually looking in the mirror, in window glass reflections, in the windows of his car. Later, as he has cosy and questioning conversations with the coat, there is a touch of schizophrenia. And, no secret, he is obsessive.

The gift of the video camera makes a great impression on him, his buying a book in the local small village bookshop, his beginning to film and encountering a young woman, Denise (Adele Haenel in the local bar, who expresses her desire to edit films (she has practised on her computer at home and re-edited Pulp Fiction in linear fashion!).

By this stage, the audience has accepted Georges (although he is in no way likeable) and wonders about his filmmaking.

It is best now not to pursue the plot developments in a review, what is best is for unexpected action to be discovered, not without some shocks, by the audience. And, embarrassingly, in a moment of black humour, they may, like this reviewer, actually laugh at the moment when we see what happens to Georges!

Yes, and a number of comments have actually said, “Oh deer!�.

1. A cinema of the absurd story? French perspective?

2. Brief running time, establishing the character of Georges, the revelation of his obsession, the revealing of his mental condition, his obsession, his narcissism, the touches of schizophrenia as he can versus with his jacket, the conscienceless violence, the exploitation of Denise?

3. The mountain settings, the beauty, Georges filming them? His character, middle age, separated from his wife and her rejecting him on the phone? Blocking his credit card? Driving, the petrol, taking off his jacket, putting it in the toilet bowl, the flood, his disregard?

4. Arriving at the house, the encounter with the old man, the deerskin jacket for sale, expensive, Georges buying it? The old man giving him the video camera?

5. Georges, preening himself in the coat, his admiration, looking in mirrors, looking in reflecting glass, car windows…? His literal narcissistic regard? Going to the hotel, walking in, no money, his gold ring as guarantee? (Adding to the absurd, the receptionist, his watching television, the news of his suicide, no family, lying in room 1, his deerskin hat, Georges taking it, getting his ring back?)

6. The video camera, fondness, filming, shoplifting the book about filmmaking, continually referring to it?

7. Georges, going to the bar, Denise and her friendliness, the older prostitute, following him in the car, his rejection? Going back to the bar, Denise giving him drinks? Their conversation, his identity as a filmmaker, his stories about the production company in Siberia, no contact, no money, the fax yet their deaths in an avalanche?

8. Denise, her age, background, in the bar, interested in Georges as a filmmaker, her interest in editing, re-editing Pulp Fiction in a linear style? His giving her the cassettes, her watching, editing? The issue of money, her withdrawals from the bank, later amounts of money, her father selling his shop…?

9. Georges, buying the cassettes, filming at random, the countryside, paying the group money to act, to take off their jackets, in the boot of the car, his driving off, later hiring the excavator, the hall, burying the jackets?

10. His intent to rid the world of jackets? Denise to remove hers? Her affirming this as the theme of the film? The dejacketisation of the world? The people coming from the cinema, following them, threatening, filming? The propeller from his fan in the room? Challenging people, the brutal murders, the woman in the car and the propeller through the roof? (And nobody in the village, let alone the police, noticing or acting?)

11. Giving the cassettes to Denise, her urging him on, wanting more blood? And her buying him the deerskin trousers? His outfit complete?

12. Denise knowing the truth, their agreement to work together, the money? The going out to the mountains, Georges preening in his outfit? Beckoning to the deers?

13. Being shot? The irony of the hotel owner, his son being the silent boy observing, Georges throwing the stone at him, his injury? Georges hunted down and shot?

14. Denise, the inheritance…? Her future and the film?

THE BIG FOUR

UK, 2013, 90 minutes, Colour.
David Suchet, Hugh Fraser, Pauline Moran, Philip Jackson, David Yelland, Tom Brooke, James Carroll Jordan, Patricia Hodge, Stephen Pacey, Simon Lowe, Sarah Parish.
Directed by Peter Lydon.

The Big Four was an earlier Agatha Christie novel, not so much a murder mystery although there are murders and mystery, but the atmosphere of espionage, the atmosphere of the impending World War II, more an adventure or a “ripping yarn�. Many readers were dissatisfied with the novel. And many fans were dissatisfied with this adaptation, once again by Mark Gattis (who wrote the Sherlock television series and portrayed Mycroft Holmes). Critics complained about his changing of the plot, the elimination of characters. Others said it was a better adaptation for the screen.

The film opens with Poirot’s death and funeral, something of a shock. However, it does offer an opportunity for his three friends to gather again, Philip Jackson as now Assistant Commissioner Japp, for Pauline Moran as Miss Lemon, and Hugh Fraser has Hastings (and the opportunity for him to say “Good Lord�).

A newspaper reporter gives information to politicians and police about a conspiracy, The Big Four. It is associated with a Chinese philosopher guru and the establishment of a Peace Party. The first murder takes place at a celebrity chess tournament, a Russian expert being killed. There is a later murder in a home after a dinner with some members of the Peace Party present, including a French scientist, Dr Olivier (Patricia Hodge). There is another murder associated with the Chinese expert, local police and Poirot investigating. There are also some scenes of an actress receiving fan cards. And an industrialist and the French doctor also disappear.

Poirot receives an invitation to a meeting and there is an explosion, Poirot presumed dead. Of course, he is alive, has followed through investigations with the actress, set up a situation to entice the mind behind the conspiracy to appear – and the revelation that it is an actor, unrequited love for the actress, creating a huge conspiracy, putting on disguises to commit his crimes. For most audiences, this may be just too far-fetched in terms of the character himself, his imagination and conspiracy, and the execution of the murders. (Many of those critical of both the novel and the film version use the word “ludicrous�.)

1. The popularity of Agatha Christie mysteries? The television series? David Suchet as Poirot? The story from an early novel but one of the last in the television series?

2. The death of Poirot, the gathering for the funeral, the funeral ceremony, the grief, the arrival of Miss Lemon, Hastings, Assistant Commissioner Japp, George? Audience disbelief?

3. The British settings, the city of London, the countryside, homes, theatre, chess championship, the theatrical finale? The musical score – and echoes of the original theme?

4. The opening, Poirot dead, the funeral? The gathering of his friends?

5. Four weeks earlier, the chess championship, the presence of Japp, meeting Poirot again? Poirot delighting in chess? Abe Ryland and his hosting? Dr Olivier and her presence and her reputation? Holding hands and the revelation of her relationship? The patronage of the Chinese Guru and the Peace Party? The Russian veteran? Play, his sudden death?
Presumed natural causes? Japp and the investigation? Poirot and his presence? Discovering the magnet in the chess piece?

6. Laurence Tysoe, journalist, his information, challenging authorities, calling out at the chess game, his removal? Meeting Poirot, the information, the messages? His informant being stabbed? His continued presence, the investigation?

7. The scenes in the theatre, Romeo and Juliet, Flossie, the cards? The reference to the Methuselah Theatre? Poirot and his investigations, the scrapbook, the photos, the seasons 1924, Flossie? His meeting with Flossie? Her going into the theatre, for the audition, the encounter with the would-be actor?

8. The Peace Party, 1938, prospects of World War II? Abe Ryland and his background, arms sales, accusations, his disappearance? Dr Olivier, at the party, the death of the host, his face burnt? The place of Dr Quinton, family physician? The tension at the party, the wife and her suspicions, the black sheep son arriving?

9. The mysterious death of Jonathan Wiley, at his home, the local police, Poirot’s investigation, the book by the Chinese guru, the Chinese statutes? Suspicion of the manservant? Out of jail, the minister helping him, his position, the boots and the bloodstains, his discovering the body, taking the statues, confessing? The maid, finding the body, explaining the events? The later revelation of the butcher and the clue from the frozen meat?

10. The disappearance of Dr Olivier? The continued focus on The Big Four? The buildup to Poirot and the explosion? His seeming death? The flashbacks and his escape from the bomb?

11. The audition, Abe Ryland and Dr Olivier frozen with the drug? The actor arriving, claiming to be number 4, the wild conspiracies in his mind, creating the conspiracy, abducting the members of the peace party, the other murders, his uncle?

12. His motivation, devotion to Flossie, unrequited love? The credibility of this motivation? The explosives? Poirot persuading him not to kill Flossie? Tysoe bringing down the curtain?

13. The happy gathering with Poirot, the opportunity to see Japp, Miss Lemon and the arrival of Hastings?

14. The story as something of an adventure, a in “ripping yarn�, rather than an Agatha Christie mystery?

HORROR ISLAND

US, 1941, 60 minutes, Black and white.
Dick Foran, Leo Carillo, Peggy Moran, Fuzzy Knight, John Eldredge, Lewis Howard, Hobart Cavanaugh, Walter Catlett, Ralf Harolde, Iris Adrian.
Directed by George Waggner.

This is a small budget variation of the haunted house genre. While there are some scares, it is also played for comic touches – something of a pantomime.

Dick Foran plays Bill Martin, something of a playboy with no money, fending off creditors, owning his boat, creating schemes which his associate, Stuffy, Fuzzy Knight, tries to implement. He does own Morgan Island, something of a derelict island with the memories of Captain Morgan and an abandoned castle. His cousin wants to buy it.

Bill Martin crashes into a car driven by Wendy Creighton and there is a dispute about insurance. He persuades her to come to his new scheme, tours of the island, treasure hunt. Involved in this is a peg leg captain with half a map, played by Leo Carillo, the other half of the map held by a mysterious caped figure referred to as The Phantom. Bill Martin checks the authenticity of the maps with a Professor who then decides that he will come along for the adventure even though the maps are fake. Wendy has her associate come along for the trip and there is a suspicious couple. Bill is visited by Sgt Mc Goon who threatens him with tax issues but is persuaded to come along for the ride.

Almost immediately, there is an explosion and these continue when the group arrives on the island, some engineered by Bill and Stuffy, but others by The Phantom who is on the island.

There is a whole lot of the expected frights, confusions, strong heroine in some distress, the peg leg captain searching for the treasure. Then various members of the group are killed, the suspicious couple being a bank robber and his associate. The cousin is also killed. A lot of the proceedings are interrupted by the Professor who has a propensity for sleepwalking.

Ultimately, the killer and the villain are unmasked – operating on the least likely participant to be the villain, the Professor who knows that the maps were authentic!

And, the government official who kept visiting Bill and was being put off arrives on the island, not to arrest him but to say that the government wants to buy the island to use as a base!

Silly but an entertaining hour.

TORMENTED

US, 1960, 75 minutes, Black-and-white.
Richard Carlson, Susan Gordon, Lugene Sanders, Juli Reding, Joe Turkel, Lillian Adams.
Directed by Bert I. Gordon.

This is a curiosity item from 1960. It was directed by Bert I. Gordon, who directed quite a number of small budget features but who specialised in photography and, as in this film, experimentation with special visual effects.

Tormented has echoes of film noir, part it is also a ghost story.

The focus is on a musician, Tom Stewart, played by Richard Carlson who usually has a presence of integrity rather than criminal. The film offers the pleasures of some jazz music throughout. Tom Stewart is about to marry and the ceremony will take place on an island. On the island is a lighthouse, about to be pulled down, but figuring strongly in this story. Tom is visited by an old flame, a singer, Vi (Juli Reding). She is possessive, refuses to let him go, threatens his marriage. In the confrontation between them, a railing comes loose on the lighthouse parapet, Vi falls over, reaching out for Tom to hold her. He doesn’t.

The rest of the film, Tom is haunted by Vi’s presence, seeing her floating dead in the water, bringing her to shore only to find that he is clutching seaweed. Her voice is heard. At one stage, her floating head appears (a bit too ludicrous to be frightening). Tom is haunted And his fiancee can’t understand his mood, the man who brought Vi to the island becomes suspicious at her disappearance, asks Tom for money and then realises he can blackmail him. Tom knocks him out and disposes of the body – but this is witnessed by the fiancées young sister, played by the director’s daughter, Susan Gordon, who is torn between her liking for Tom and her reaction to his behaviour.

During the wedding ceremony, Vi’s presence is felt, flowing up the aisle, the successive bunches of flowers wilting, including the bride’s bouquet.

There is a finale, as might be expected, a meeting between the little girl and Tom, his intending to kill her – and his falling over the parapet of the lighthouse.

An oddity which is a curious pastime from the 1960s.

MALEVOLENT

UK, 2018, 89 minutes, Colour.
Florence Pugh, Ben Lloyd- Hughes, Scott Chambers, Georgina Bevan, Celia Imrie, James Cosmo.
Directed by Olaf De Fleur.

A strong title for this film. And it can have several meanings.

The focus is on a group of young men and women from Glasgow, their setting up a fraudulent company, advertising to rid buildings of ghosts. The older brother, Jackson, Ben Lloyd- Hughes, is the brains behind the scheme and its advertising and promotion. His younger sister, Angela, Florence Pugh, is alleged to have powers to do the exorcising of the buildings. Her friend Elliott, Scott Chambers, is the cameraman because everything is filmed and the client is able to see the process on screen. Beth, Georgina Bevan, is Jackson’s girlfriend. They are seen going through the routines, setting up the equipment, Angela doing her thing, Elliott following in filming. Angela, however, is in two minds about proceeding, her nose bleeding in situations which suggest something more supernatural. She consults her elderly grandfather, James Cosmo in a cameo role. She also gets advice from the professor at school.

The main part of the film focuses on a new client, Mrs Green, a strong performance from Celia Imrie. She answers an advertisement, invites the group to her house, explains the situation with some young girls present in the house, her hearing their cries. She herself had a son who is accused of harming the girls. The squad arrive, Mrs Green is not taken in by Jackson’s spiel. But, as the proceedings continue, as she watches on the screen, Angela ventures into other rooms and opens doors, as a sense of the presence of the girls, starts to see them, her nose bleeding. Then Elliott falls through the rotting floor in the corridor, injuring himself as he falls to the basement. Beth is discovered attacked and mutilated.

The film then moves more into the touch of Grand Guignol. Mrs Green proves to be more sinister than anticipated, with the presence of her son, capturing the group, torturing them. There is something of an upbeat ending – at least for Angela and Elliott, and with the ghostly presence of Jackson.

Olaf de Fleur is an Icelandic director.

1. The title? The tone? Bad will and malice?

2. The Scottish setting, Glasgow, homes, the venues for the elimination of the ghosts, the mansions and grounds, eerie interiors, the school, the attic, the basement? The countryside? The musical score?

3. The malevolence of the group, committing fraud, greed? The malevolence of the ghosts? Malevolence of Mrs Green? Her son? The young girls? Mrs Green and her ultimate malevolence and cruelty?

4. The introduction to the group, Jackson and Angela, brother and sister, the story of their mother, her suicide, her eyes, her reappearing? Angela visiting her grandfather, benign, Jackson owing him £500?

5. Angela, at school, the professor and her advice, offer of help? Jackson his plans? Asserting Angela’s powers? His smooth behaviour with clients? The advertising? Elliott and his friendship with Angela, cameraman? Beth and her presence? Relationship with Jackson?

6. The first episode, the group arriving, the setup, the filming, Angela and her routines? Indications that she might have more powers? Her nightmares about her mother? Situations and her nose bleeding? Her willingness, an unwillingness to collaborate? Her devotion to Jackson?

7. The response to the flyer? Mrs Green? Her explanation of the situation, her son, the house, the girls, the haunting, their cries, her wanting to be rid of them? Her observation of the process and the setting up? Jackson and his smooth-talk and her rejection of it? Angela, going through the house, Elliot following her, filming? Mrs Green watching? Angela going into different rooms, opening doors? Becoming more sinister? Angela and her sense of presence? Appearances of the girls? Elliott falling through the floor? Their having to rescue him, climbing up the ladder? Continued appearances?

8. Jackson, trying to deal with the situation, wanting to call it off? Mrs Green and her harsh reaction?

9. Elliott, his injuries, Angela and her head injuries, finding Beth and the mutilation? Getting in the car, driving? The man on the road, the hit run, the crash? Beth through the windscreen? Jackson’s reaction?

10. Angela, going back into the house? The son and his appearance, taking Jackson, beating Elliott?

11. In the house, Jackson tied up, Mrs Green and her taunts, her son, the touch of torture? Mrs Green and her angers, her motivation, her violence? Bringing in Elliott, tying him up, her battering his legs? Angela, tied up, Mrs Green beginning to sew her lips?

12. Getting free, the rescue, Elliot and Angela? Jackson, his death? Angela seeing his ghost on the road?

13. The hospital, recovery, the future for Elliott and Angela? And the sense of presence of Jackson’s ghost?