CRACK-UP

US, 1936, 65 minutes, Black-and-white.
Peter Lorre, Brian Donlevy, Helen Wood, Ralph Morgan, Thomas Beck, J.Carroll Niash.
Directed by Malcolm St Clare.

This is Peter Lorre’s first film in the United States. His career began in Germany in 1929, reaching a high mark with his portrayal of the killer in Fritz Lang’s M. He moved from Germany, first to England, appearing in Hitchcock’s The Man Who Knew Too Much and then moving to the United States where he had a significant 30 years career.

Here he plays, at first, an eccentric hanging around airports, nicknamed The Colonel, Colonel Gimpy because of his limp. He is taken for granted and treated in a humorous fashion. However, he is actually a Baron, a spy for a country near Germany but unnamed, with a whole squad of operatives, aiming to get engineering plans for his country. There are various other spies looking for the plans.

Ralph Morgan plays the designer of planes and there is a great deal of talk at the ceremony commenting on aviation and transportation in the mid-1930s. He is to be present on a flight, a test flight, to Berlin, piloted by a top pilot, Ace Martin, played by Brian Donlevy, accompanied by a young engineer, played by Thomas Beck.

All is definitely not as it seems on the surface. Ace Martin is doing double deals with the engineering plans, manipulating his associate to rely on his fiancee to get into a building to steal the plans. In the meantime, the colonel is using another spy to get the plans – but the spy does a double deal with Ace Martin who, however, shoots him.

In the meantime, the plane designer’s wife has left him, moving to Paris with his partner. He decides to go to Europe on the plane to pursue his wife for reconciliation. Ace Martin is eager to get away from the United States. In the meantime, the fiancee is arrested and interrogated by the government.

The last part of the action is on the plane, the crew unable to contact New York, but able to receive news flashes and, while Ace Martin is on the wing of the plane to replace the gas top, the fiancee reveals everything to the engineer. There are struggles, the plane starts to dive, the Baron, who has smuggled himself aboard, reveals the truth. Actually, at the end, there is a certain camaraderie appealing to human nature, allowing the engineer to be rescued with the plans.

A variation on the espionage atmosphere, internationally, from the American point of view, in the mid-1930s.

BAD BOY

US, 1939, 70 minutes, Black-and-white.
Johnny Downs, Rosalind Keith, Helen Mac Kellar, Spencer Williams, Archie Robbins, Holmes Herbert.
Directed by Herbert Meyer.

Bad Boy is a small film from 1939, the only film directed by Herbert Meyer. It is a moralising story, something of a pessimistic ending, a reliance on hope and prayer. Downs is an earnest young man who lives with his devoted widowed mother, Helen Mac Kellar. Offered the prospect of a job in the city in engineering, he leaves home, does very good work, is promoted. However, one of his colleagues, Steve Carson (Archie Robbins) leads the young man astray, betting on the races, taking into a nightclub where is infatuated with a rather arrogant singer, Madalyn (Rosalind Keith).

The young man spends his salary on the singer, falsifies accounts to cover expenses and is fired, betrayed by Steve Carson and sent to prison. His devoted mother sells her house, giving all the money to Steve Carson who, allegedly, gets her son out of prison. The young man is disillusioned, tramps the city for a job but fails, his mother getting a cleaning job.

This hardens his determination, going to see Steve, encountering what are called “business engineers�, racketeers, joins the company, takes charge, is financially successful, buying a home for his mother, introduced again to the singer, marrying her. She is a gold-digger of the worst kind and almost immediately the marriage breaks, Steve betrays him, the police are after him – shootouts.

The cast is interesting: Johnny Downs retiring from films in the mid-50s but hosting a children’s television show in San Diego to the late 60s, moving into real estate. Rosalind Keith had only a 10 year film career and retired in 1944.

Of particular interest is the presence of Spencer Williams. He appears as a chauffeur for the central character, befriends him and his mother, arranges the servants in the new household, is disillusioned with his boss but, ultimately takes a bullet for him. It is interesting to see an African- American character in such prominence in the late 1930s and not a stereotype or a figure of fun. He is a substantial character in the screenplay, accepted by the main characters. In fact, Spencer Williams made a number of films for black audiences, especially the religious drama, The Blood of Jesus in 1941. On television, he appeared as Amos in the controversial Amos ‘n Andy.

The film had production difficulties – as explained in the only reviewer’s comment on the IMDb, correspondence with Joseph Breen and the administration of the Production Code – rather astounding to read now:

From the IMDb
Joe Breen Steps In

21 September 2005 | by horn-5
In a letter, dated May 18, 1939, from Joseph I. Breen (Production Code Administrator-Director? of the 'Motion Picture Producers & Distributors of America, Inc.') to Producer/Writer Richard C. Kahn, Mr. Breen found a whole lot of things he didn't like (and wasn't going to allow) in the shooting script of THE UNCROWNED QUEEN. (The title was changed to BAD BOY when released later that year.) Joe Breen allowed that "while the story could be made in conformity with the Production Code, it will be necessary to follow carefully the suggestions set forth hereafter, in order to eliminate the numerous objectionable details which make this story, in its present form, unacceptable." Generally, censor Breen advised that the story should be dealing with racketeers rather than old-style gangsters; care should be used not to overemphasize the profits which arise from illegal activities such as racketeering; and there should be no suggestion that there is a sex affair between Madelon and Steve.

And, then Joe proceeded to eliminate nearly every scene, beginning with scene 7 and advising that the world "CH..K (this one is on the site's can't use list, also)should be eliminated from this scene and any other scene in which it is used.

Getting down to brass tacks, Breen states: "the sounds of Johnny being whipped should be held to a minimum - send us (Production Code office) the lyrics to any song Madelon sings - no scenes showing men giving girls money - there can be nothing objectionable in Madelon's costuming, singing or dancing - it is not satisfactory to show Madelon in panties and brasierre and the least she can wear is a slip, with her body covered adequately in all of her scenes - there should be nothing in the dialogue that suggests Madelon has undressed while Johnny is in the room - while Madelon is putting on her stockings there should be no undue exposure of her person nor should her legs be shown above the knees - don't use the "kicking legs" montage - don't imply that Steve and Madelon are engaged in a sex affair - change the shyster lawyer Avery, who cheats'Johnny and his mother out of two thousand dollars, to some other undefined profession - delete "God" from Avery's speech - delete "bumped off" from Steve's speech - please exercise restraint to the kissing in scene 184 - please exercise restraint to the drinking and drunkenness in scene 192 - the girl's speech in scene 197 should not be suggestive of a sex affair between Steve and Madelon - the man's speech about the honeymoon joke in scene 199 is definitely unacceptable and MUST be DELETED - restraint on the kissing between Steve and Madelon in scene 202, and no physical contact between them beyond this scene - delete "damned" in Madelon's speech in scene 203 - delete George's use of the word "mob" in scene 248 - delete Steve and Madelon kissing in scenes 253, 255 and 259 - avoid undue brutality in the fight in scene 267 - avoid undue gruesomeness when Johnny is shot in scene 282."

Breen then starts page 4 off with a lecture: "In scene 295, the whole business of the detective being shot and killed must be deleted in toto. The Production Code prohibits the showing of police dying at the hands of criminals. We recommend that you avoid this shooting entirely by having the detective slugged rather than shot." (A suspicion that the PCA censors wrote more scenes in this period of film-making than the credited writers would not be unfounded.)

Joe winds up by "suggesting" that: "in scene 304 avoid gruesomeness in the shooting death of Terry - in scene 351 change the announcers dialogue to get away from any suggestion that the detective had been killed - change the word "gangster" in scene 311 to "racketeer"", and in scene 323 please avoid gruesomeness in Johnny's death
scene." And then Breen advises Kahn that...you will have in mind that our final decision on the acceptability of your story is based upon our review of the finished film."

But he did write "Cordially Yours" above his signature.

FATAL AFFAIR

US, 2020, 89 minutes, Colour.
Nia Long, Omar Epps, Stephen Bishop, Aubrey Cleland, Mayo Stojan, Jacob Aaron Gaines.
Directed by Peter Sullivan.

With fatal in the title, there is an immediate link with Fatal Attraction, sexual obsession, violence. Given the plot development, the title would have been more appropriate as Fatal Encounter.

The setting is San Francisco, an affluent San Francisco, legal firms, architectural design, a mansion by the ocean. Ellie, Nia Long, matronly in this story, is a successful lawyer, moving out of the city to her own practice. She has been married for 20 years to Marcus, a designer. There is a taken-for-granted atmosphere at home as they move to their new mansion. They have a daughter, Brittany, at Berkeley.

When Ellie attends a legal meeting, she encounters a friend from the past, David Hammond (Omar Epps). She has not seen him for 20 years. He goes out for a drink, makes a sexual advance, she almost succumbing, but breaking it off. What follows is a story of obsession, David seen visiting a therapist, the audience making sense of the prologue where a young woman discovers her lover murdered in a bath.

Most of the film focuses on Ellie and her being the victim of David’s fatal sexual obsession, his turning to violence, the threats to the family, his breaking out – and a melodramatic climax in the home and on a cliff edge.

Fatal Affair makes the film sound somewhat tawdry whereas it is a melodrama of sexual obsession and a woman making moral decisions for herself and for her family.

1. The title? Perhaps better, Fatal Encounter?

2. The San Francisco settings? The vistas of the city? The coast and ocean? Offices, apartments, mansions? The musical score?

3. The affluent atmosphere of homes, legal workplaces?

4. Ellie’s story? Her work as a lawyer, her reputation? 20-year marriage to Marcus, love, counselling, feeling him a stranger? A love her daughter, at college in Berkeley? Moving out of the city, setting up the new premises, Linda as her receptionist? The meeting, Janice presiding, David present?
5. David Hammond, knowing Ellie 20 years earlier, at the meeting, his skills at hacking, arranging to be present? Going out with Ellie? Their drinking, talking, remembering? The sexual encounter, Ellie and her decision, leaving? David and his obsession, phone calls, texting, Ellie confronting him, cutting him off? His coming to the dinner at the home with Courtney? Ellie ordering him away? His messages, photos, his relationship with Courtney? The scene of his going to the psychiatrist? Anger management?

6. The prologue, the affair, Deborah, finding Travis dead? Audiences realising David’s involvement? His talking about his divorce? Ellie investigating, coming across the reports, David innocent?

7. Brittany, a college, coming home, her room, the new house, friendship with Scott? Marcus and the touch of disapproval?

8. Marcus, background, designer, his accident, injuries? Relationship with Ellie? The dinner with David and Courtney? The phone call to play golf with David? Enjoying it?

9. Ellie, following David, to the golf course? Going to his apartment, the search, the technical equipment?

10. Her phoning Courtney, Courtney not believing her, David hearing her on the phone, his assaulting her?

11. Coming to Courtney’s apartment, Ellie telling him the truth, her being sorry, his being hurt, angry, but still loving Ellie?

12. The police, the glimpse of the vagrant man, the burnt corpse, David and the fire? The suicide note?

13. The false called to Ellie at the office? David at the house, killing Scott, tying up Brittany and Marcus? Ellie calling the police? The police officer and her consideration? The squad, David killing the police? Ellie freeing Brittany, her driving away? With Marcus, up the steps, on the height, the confrontation, the fight? Ellie and the knife? Marcus and his fall? David
on the Cliff, holding onto him, his falling?

14. The future, Ellie and Marcus, Brittany? A loving family?

EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA

US, 2020, 123 minutes, Colour.
Will Ferrell, Rachel Mc Adams, Dan Stevens, Mikae Persbrandt), Pierce Brosnan, Melisanthe Mahut, Demi Lovato, Graham Norton, Jamie Demetriou.
Directed by David Dobkin

On the one hand, the annual Eurovision competition has an enormous following in many parts of the world, a popular cultural landmark for all the countries of Europe. It has a limited following in the United States. So, it is something of a surprise, that an American company would make a film about it, about characters who want to be in the competition and win it at all cost, about the competition itself, the kind of music, the visual presentation for television, costumes, décor, singing and dancing styles.

But they have. The film was directed by David Dobkin (The Wedding Crashers and other comedies). And, it was co-written by its star, Will Ferrell.

The filmmakers have chosen Iceland as the country that they will present, explore, parody. Iceland could stand in for Eurovision enthusiasts from any country but, with its being small, with its financial difficulties, with its Scandinavian and Viking tradition, it provides an entertaining background for its story.

The film is broad comedy, not relying on very much subtlety. And this is particularly the case for Will Ferrell, his character, Lars, a middle aged fisherman whose be-all and end-all is to win Eurovision. But, there is some subtlety in the characterisation of his singing partner, Sigrit, a particularly engaging performance by Rachel Mc Adams.

The opening takes us back to the 1970s, the community in a small town in Iceland, Pierce Brosnan, of all people, as the local patriarch, tough and macho, disdaining Eurovision, but amazed and alarmed when his little boy, dances in front of the television as Abbas sings Waterloo. And he is joined by the little girl who doesn’t talk.

To the present. Lars fishes with his disapproving father, craving his affirmation. He plays in the local band with Sigrit – but the locals want only one popular song, Ding-dong, not interested in their compositions. They try to prepare for Eurovision – watching the Icelandic competition, especially the favourite singer, when suddenly everything explodes and the contestants are all killed. The desperate local organisers put names in a box to find a substitute entry and, who should be drawn out but…

So, off to Eurovision in Edinburgh (and a pleasant look at that city). Lars, of course, is vain, obsessed, making all kinds of social and technical gaffes. On the other hand, Sigrit becomes even more radiant. She attracts the attention of the Russian competitor, Alexander (Dan Stevens), vain,. All stops out, with a very camp presentation of his song. So, all kinds of problems with the rehearsals, due, of course, to Lars. Sigrit gets caught up with Alexander. The Greek entrant sets her eyes on Lars (the screenplay giving no real or apparent reason!). Conflict, moods, but they do get their chance to perform – ending in comic disaster (comic for the audience but not for them).

And, for fans of Graham Norton, he has an enjoyable time playing himself as a television commentator.

A lot of amusement about the voting, some sympathy for Iceland, vengeance for the Danish bank official who dreaded Iceland winning because it would bankrupt them again, some conflict with Lars (and a visit to some elfs whom Sigrit prayerfully enlists for her success), and a finale that seems impossible – but, of course, is possible, a victory of some kind and a happy future, father-son reconciliation, father marrying Sigrid’s mother, everybody assembling to listen to the band plus baby again – only to want that local song, Ding-dong, played yet again.

An undemanding Netflix pastime – which, those who know Eurovision will probably relish and enjoy.

1. The popularity of the Eurovision contest? European contributions? The long traditions, the songs, the styles, the performers?

2. The choice of Iceland for this story? Satire on Iceland? On any European country and its ambitions? The small population of Iceland? Occupations? Financial situations and economy?

3. The prologue, the family watching Eurovision, 1974, Abba singing Waterloo? Lars and his dancing in front of the television? His father’s disapproval? Sigrit, coming from the kitchen, not talking, but dancing?

4. The transition to the present? Lars, middle-aged, working for his father, fishing? His friends? His father still looking down on his son? Lars and his love for Eurovision? Wanting to enter the competition, wanting to win? Obsessed? His singing at the restaurant with Sigrit? The band? Their own songs? The crowd wanting the same Ding-dong song?

5. Sigrid, older, charming? Her relationship with her mother? Supporting Lars?

6. The Iceland committee for Eurovision? The choice of the singer and her performance? The competition? The board meeting, and the financier’s sinister disapproval? The concert, the explosion, everybody dead? The later revelation that it was the financier concerned about the country and bankruptcy? The committee finding an alternate entry, putting the names in a hat, Lars and Sigrit emerging? Fire Saga?

7. Lars, Will Ferrell style, the enthusiasm, going to the performance, Sigrit and her support? Going to Edinburgh? The visit of the city? Encountering Alexander, the Greek contestant? The managers, stylists, choreographers? The rehearsals? The range of competitors and songs, costumes, choreographer?

8. Sigrit and Alexander, his camp style, ambiguities? His pursuit of Sigrit? Her innocence? The Greek woman, approaching Lars, the night together? The consequences?

9. The rehearsals, Lars and his pomposity? The appearance of the ghost of the dead singer? The comic disasters? The actual performance, seeming to go well, the scarf caught, the complete collapse? Everybody laughing? Everybody in Iceland watching the performance? Lars and his anger, leaving?

10. Alexander and his support? Sigrit rejecting him?

11. The media, Graham Norton and his commentary?

12. Sigrit, her deciding to stay, watching the votes coming in? Her determination to perform? Lars, on the fishing boat, not knowing what it happened, discovering the truth, his father support, diving into the water, going to see the elves (and Sigrit’s devotion to them)? The attempted murder, the finance his death?

13. Lars, the plane, the taxi, the joke about the Americans and giving him the lift and his previous denunciation of them?

14. Sigrit, the changing of the song, her performance, Lars and the piano? Disqualified because of the rules? But the popularity from the judges and the public?

15. A year later, Sigrit and Lars married, the baby, Lars’s father marrying Sigrid’s mother, all at the restaurant, the Americans there, singing – and wanting the song, Ding-Dong?

BEYOND THE LIGHTS

US, 2014, 116 minutes, Colour.
Gugu Mbatha- Raw, Nate Parker, Minnie Driver, Richard Colson Baker, Danny Glover.
Directed by Gina Prince- Blythewood.

In the early 1990s, The Bodyguard was a great commercial success, Kevin Costner playing the bodyguard to Whitney Houston’s celebrity singer. This lighter film is in the same vein.

Gugu Mbatha- Raw is a strong screen presence, from such films as Belle to Motherless Brooklyn. Here she portrays a young British woman, entered into competitions by her dominating mother (a powerful performance from Minnie Driver), achieving success in the UK, moving to the United States, so pressurised that she sits on the hotel room ledge – a suicide moment. However, she is rescued by the young policeman on guard, Nate Parker, and forced to face the press conference saying that it was just a drinking incident.

As might be expected, the film focuses on the bond between the young woman and the policeman, quiet and tender sequences, some tensions, their going away secretly on a holiday to Mexico, eventually discovered and returning to Los Angeles. There are difficulties with the music industry, the young woman wanting to sing her own songs, clashes again with her mother, her returning to England to perform – and the policeman following her.

The film was directed and written by Gina Prince- Blythewood, who had her breakthrough with Love and Basketball, directed The Secret Life of Bees and moved into action features with The Old Guard.

1. The title? Show business themes? In front of the lights? Behind the lights? Beyond?

2. The British origins of the story, Brixton, the poor family, mixed-race, at school, in the competition, the hair-do? The return to Britain at the end, life in London, Nina at home, the crowds, the performance, the romantic ending?

3. The action of the film in the United States? Hollywood? The music industry? Business? Performance? Public relations, promotion, photo shoots? Behind-the-scenes? Police work in Hollywood? The holiday in Mexico?

4. The film as a musical, the range of songs, lyrics, performance?

5. The introduction to Nina and her mother, the little girl with spectacles, the hair-do before the performance, her performance, runner-up prize, her mother throwing it away? The dominating presence, steel determination of her mother?

6. Years later, in the United States, her mother ever-present, dominating, demanding? Nina and her age, look, style? Performance? The fans? The public? The pressure? Going up to her room, on the ledge, Kaz on guard, entry, rescuing her? Her mother’s reaction? The press, the press conference, Kaz and his having to lie, the pressure from his father? The effect on each of them?

7. Kaz, his father, the police, the traditions, local politics, the Reverend and his entourage, vetting Kaz, the possibility of standing for office? Motivation?

8. Nina, the effect of being on the ledge, rescued, confronting her mother? The press, the photographers? The meeting with the executives, Liam and his hostility – and his later being ousted and outmanoeuvred? The demands for the album to go ahead?

9. Kaz, at work, going back to see Nina? Her wanting to get away? At the airport, eating the chicken, under the planes? The bonding between the two? Nina and her lack of self-confidence, her being pressurised for her life? Kaz being criticised by his father?

10. The issue of the plane, Kaz never on one, blindfolded, the experience?

11. The decision to go to Mexico, the drive, the bonding between the two, the relationship, intimacy, developing love? The enjoyment of free time in Mexico? Nina removing her hairpiece, her ordinary look? In the restaurant, the karaoke singing? Recognition?

12. Nina’s mother, arrival with the press, the video, the number of hits? Nina and her mother returning? The meeting with the executives? Her mother making strong demands? Nina and her and lyrics, wanting to sing them?

13. Kaz, back to work, Nina and the separation?

14. Nina’s clash with her mother, firing her, going back to England, the concert, her fans? Kaz arriving, her bringing him on stage, the final romantic ending?

15. The life of singing stars, parallels with actual stars in their lives? And the memories of The Bodyguard?

THE OLD GUARD

US, 2020, 123 minutes, Colour.
Charlize Theron, Ki Ki Layne, Mathias Schoonaerts, Chiwitel Ejiofor, Marwan Kenzari, Luca Marinelli, Harry Melling, Anamaria Marinca,
Directed by Gina Prince- Blythewood.

The Old Guard seems a rather prosaic and unimaginative title for a story about immortal warriors. However, the screenplay is based on a graphic novel written by Greg Rucka who also wrote the screenplay for the film.

What might appear credible in a graphic novel and its sketches and illustrations is a challenge for the screen, for realistic characters, for credible action even if it is heightened with immortality. On the whole, the film is successful in the performances for the old guard. Charlize Theron has appeared in a number of action films in the past, including Aeon Flux and the Atomic Blonde. She is joined by an international group, Belgian Matthias Schoenaerts as her long centuries partner, Dutch Marwan Kenzari and Italian Luca Marinelli as two who killed each other during the Crusades. The film indicates their long history, Andy (Theron), Andromeda, coming from the era of Greek history.

There are no real explanations as to how these warrior guardian angels of humanity were designated with immortality and military prowess since there is no acknowledgement of God or divine powers. They are just there, discovering that however many times they are injured and killed, sometimes quite devastatingly as we see in an initial episode in South Sudan, they recover and continue on their way. There are some flashbacks, especially concerning two women during the Inquisition, about to be burnt at the stake, one imprisoned alive in a kind of iron lung and dropped to the bottom of the sea (spoiler: she appears moment for the end a sure indication of sequel intentions!).

While there were very busy, as indicated by dialogue and by photos and images, they were present in the Napoleonic wars as well as the American Civil War, with quite a lot to do in the crises of the 20th century. A touch different in the 21st-century – a young megalomaniac science entrepreneur (Harry Melling) is desperate to capture them in order to get their DNA, flesh and blood samples for his laboratory to discover the secret of immortality. His approach is mercenary. However, he is approached by a CIA agent, Copley (Chiwitel Ejiofor), whose wife has died tragically, and his promise of capturing the old guard.

We see them in action in the set up in South Sudan. But, there is much more to the plot. Off to Afghanistan, a local confrontation by Marines, the women in the village indicating where the men are hiding, the leading Marine, Nile Freeman (Ki Ki Layne), capturing the man, but he suddenly slitting her throat. Yes, she heals, she is the new guard of the immortals.

There is action in France where the immortals hide in an abandoned village. There are pursued by the industrial company militia. There are scenes in England, in London, at the site of the laboratories, building up to a climax where two of the immortals have been captured and are subject to experimentation. Andy, always the strong leader, gives Nile the opportunity to leave. A chance, but not a chance, as she returns and it is she who will have to confront the villain – and a risky tactic to destroy him, fortunately with her immortality, not destroying her.

A Netflix release, directed by a female director, Gina Prince- Blythewood, hugely successful in streaming and, within days of release, serious discussions about sequels.

1. Popular film? Netflix release? Based on graphic novels? The creator of the novels writing the screenplay?

2. The plausibility of the plot? Selected individuals? No reasons given for their immortality? The fact? Their mission? Entering into warrior situations, the success? Greek history? The Crusades? The Middle Ages? The Napoleonic wars, the American Civil War? The 20th century and crises? The 21st-century? Audiences accepting this premise?

3. 21st-century War settings, Morocco, South Sudan, Afghanistan, situations in France, London? The war situations, battles, weapons and tactics? The introduction to the industrialists, Merrick and the search for immortality?

4. The CIA, Copley, the contact with the group, giving them a mission, the abduction of children, South Sudan, the group going on mission, the setup to capture them, the attack, their all being killed, providing? Turning the tables?

5. Copley, the later revelation of his motivation, the death of his wife, wanting some kind of help, contacting Merrick and his company? The goal to capture the immortals and get their samples, DNA, blood? His ambition, single-minded? His private army? His headquarters, London, the laboratory? The associate doctor?

6. The personalities of the group? Charlize Theron as the leader, her long Greek history, throughout the millennia? Her personality, strong? Booker, his background story, his wife, his various exploits? The second in charge? Loyalty to Andy, the shock of his betrayal? Nick and Joe, their different histories, killing each other in battle, their friendship, the introduction of the gay theme and there are explanations? Beyond friends?

7. The group, working together, their injuries, suffering the death and wounding, revival?

8. Afghanistan, the introduction to Nile, the Marines, the village, working with the women, the indication of where the man was, hidden? The attack, Nile and her control, the wounded man, his slitting her throat, her death? Her reviving, the members of the squad and their shock? Andy and her detecting that a new immortal had survived? Her going to Afghanistan, the confrontation, Nile and her suspicions, the fights, driving away?

9. The flight, the pilot, Nile still fighting, the gun, cuffing Andy, the shooting of the pilot? And her being tricked by the Russian language? (And the later years of this tactic against Merrick’s soldier?)

10. France, the seclusion, the old ruins? The group working together? Nile becoming part of the group? Revealing her story, her family, her background? Her becoming used to the idea of the immortality?

11. The squad, the attack on the group, Andy and her battle in the church? Joe and Nicky taken? Booker and his involvement, the revelation that he had betrayed the group?

12. Andy, her injuries, going to the chemist, her not healing herself?

13. The memories of the Inquisition, Andy and her friend at the stake, to be burnt, Quynh put into the cage, dropped to the bottom of the sea, immortal but imprisoned for 500 years?

14. Andy and Nile going to London? To rescue the men?

15. Copley, the capture of Joe and Nick, the treatment, their declaration of love for each other, the experiments?

16. Merrick, fanatic, single-minded, his motivations, his own military?

17. Andy and Nile, arriving, the infiltration, and he sending Nile away, the discovery that there were no bullets? Her return?

18. The buildup to the final confrontation, the battle, the deaths, individual fights, freeing Nicky and Joe, their despising of Booker, his becoming involved? Copley and observing downstairs?

19. Nile, the confrontation with Merrick, his attacking her with the axe, her wounding him, the fight, their both falling from the window and onto the car?

20. The group together again? Andy and her seeing the collection of evidence from Copley, the extent of the achievements? The future? And Quyhn reappearing?

I SEE YOU

US, 2019, 98 minutes, Colour.
Helen Hunt, Jon Tenney, Judah Lewis, Owen Teague, Libe Barer, Gregory Alan Williams, Sam Trammell.
Directed by Adam Randall.

I See You (ICU – and the house being something of an intensive care unit?. Whether that was intended or not, this is rather intense material. It is the first screenplay of actor, Devon Graye, and the direction is by the Englishman, Adam Randall (iBoy). They can be pleased with their work.

The setting is Cleveland, Ohio. An initial sweeping aerial shot introduces us to the woods, the river, the town bridge, the streets, children lining up for ice cream, a young boy and his bike, partners in the woods – and then his suddenly flying off his bike and disappearing.

So, an arresting start. Then there is a transition to a very comfortable household, but tensions within, Helen Hunt is Jackie, wife and mother, but she has had an affair and has alienated her teenage son, Connor (Judah Lewis). The injured husband and father, Greg (Jon Tenney) works in the local police force and is part of the team investigating the boy’s disappearance. His co-officer has memories of similar abductions some years earlier.

So, on the way to a mystery, detection and solution.

Well, not exactly. A number of strange, often very small incidents, occur in the house. There is definitely something off-kilter. Perhaps the suggestion of supernatural influences. They effect each member of the family in different ways. But, there is a further complication when the wife’s former lover turns up, insistent, but suffers injury from an accident, hit on the head with a missing mug falling from the roof, of-kilter again. When he is later bludgeoned in the basement, the screenplay has a household mystery all of its own.

Then a completely sudden shift, an extraordinary unexpected twist. The film begins to focus on two teenagers, a young girl, Mindy (Libe Barer) doing a documentary video about home invasion, along with her scraggy, straggly cameraman, Alec (Owen Teague). Some more bizarre events, and the audience puzzling about the two.

Then the screenplay begins to come together, a number of other twists, so that the audience is on the alert as perspectives on events and characters change.

If you are going to make an offbeat thriller, hoping to put the audience off guard, tantalising their curiosity, then this is quite an effective way to do it.

1. The title? The ambiguity of “I�? (Playing on sound: ICU, intensive care unit)?

2. The Cleveland setting, the opening tracking over the woods, river, city bridge, streets? The different angles of photography? The atmosphere of the city, the children, queueing for ice cream, children’s interactions, Justin riding, the overview, the paths in the woods, the sudden thrust from his bike? The continuing mystery? The police investigation? The townspeople joining the search? The anguished mother? Memories of abductions in the past?

3. The atmospheric score, the range of instruments and tones?

4. The transfer of the action into the house, exteriors, the lavish and tidy interiors? The introduction to Jackie, preparing breakfast, the sullenness of Connor, blaming his mother, supportive of his father, his mother and the affair, the father and his alienation, on the couch? The boy going to school? The father and his status as a police officer? Invited into the search for the missing boy? Collaboration with fellow officers? The mother going to work?

5. The happenings in the household, so many things off-kilter, missing photographs, record player starting, interventions on the computer, television starting, the mug on the roof, the blanket pulled from the father…? His being locked in the cupboard? Mysterious? Hints of the supernatural?

6. The lover arriving in the house, Jackie rejecting him, his being hit on the head with the mug, the bleeding, Jackie taking Connor to school, returning to find the lover dead? His personality, his obsession?

7. The father, involved in the search for the boy, his theories? The detective, from the past, going to see one of the victims and his distraught state, the two boys from the past? The detective finding the wire?

8. The issue of the dead body, Jackie and her upset, finding Connor tied up in the bath, taking him to the hospital? The decision to dispose of the body, in the woods, digging the grave?

9. The mysteries, the mask under the bed, the final attack with the bat on Greg?

10. The sudden transition in the middle of the film? Mindy, her project, the house invasion, with Alec as the cameraman? His bizarre activities and attitudes? Tantalising, with the computer? Drugging Mindy? The explanation of the project? Hiding in the house, benefiting, Mindy not wanting to harm anyone? Alec and his attitude? Re-viewing the events in the first part of the film, the natural explanations of all mysterious events?

11. Mindy, her wanting to escape, hiding in in the basement, witnessing Greg murdering the lover? In the car with him? His threats? Finding the caravan, the attempt to free the boys? Greg’s smothering her with the plastic? Bringing her into the house, her seeming to be an intruder, the gun, the shots on the wall, shooting Mindi?

12. Alec and the confrontation with Greg? The attack, the fight, his shooting Greg? Audience realisation that he was the young boy, the past victim? His reason for being in the house? The flashback to the boys’ encounter with Greg?

13. The police, arriving, shooting Alec? Jackie and her bewilderment? – And the solving the mystery?

14. The initial suggestions of the supernatural, an abduction thriller and mystery, the impact of the twists and the solution?

THE HURRICANE HEIST

US, 2018, 103 minutes, Colour.
Toby Kebbell, Maggie Grace, Ryan Kwanten, Ralph Ineson, Ben Cross, Melissa Bolona, Jamie Cutler.
Directed by Rob Cohen.

It is surprising to find that The Hurricane Heist did not have wide release around the world. It seems to be the perfect action entertainment, strong characters and dialogue, human interest, the hurricane setting and its impact and devastation, the Treasury building and its work, the heist and its detail, the final pursuit. It was directed by Rob Cohen who made the first Fast and the Furious as well as xXx and a number of action films.

The film was shot in Bulgaria as well as in the United States, using a great deal of Bulgarian technical backup and special effects from India. The recreation of the two hurricanes in the film is very effective. The film has a strong combination of CGI and action work.

The two leading brothers of the film, Americans, are played by the British Toby Kebbell and the Australian Ryan Kwanten. The two principal villains, Ralph Ineson and Ben Cross are British.

The film also has a strong female lead, equal to the two men, Maggie Grace, a strong screen presence.

The film has all the ingredients of popular action entertainment – and which could appeal to a wider audience wanting something with a bit more human interaction and substance.

1. The title? The emphasis on the hurricane? The elaboration of the heist? An exciting combination?

2. The Alabama settings, the city of Gulfport, the surrounding countryside, industry, the police precincts, the Treasury building, exteriors and interiors, elaborate plant? The musical score?

3. The prologue, the hurricane, 1992, the father driving, the two boys and their squabbling, the crash, refuge in the house, the demolition of the house, their father trying to save the car, his death?

4. 2017, Gulfport and the oncoming hurricane? The visualising of the hurricane, clouds, rain, winds? The devastation? People moving out? Those remaining?

5. The line of traffic, the hold-up, the trucks with the old money, Casey and Perkins, Irish jokes, Casey taking over, the drive through the fields? The unloading of the cash? The vaults? The security? The personnel, managers, technical experts, military?

6. Will, his expertise, predictions of the hurricane, not being believed, the headquarters and the personnel? His going to see his brother, Breeze? The two young boys from the prologue? The relationship, Breeze and his service in Afghanistan, not having seen his brother for five years, his accommodation, engineer? Will and his wanting him to leave? Boarding up the premises? The relationship between the two – and the later driving together, Will and his apology? Breeze accepting, and never speaking of it again?

7. The invasion, the military tactics, weapons, knocking out the soldiers but not killing them? The manager as hostage? Perkins and his betrayal? The introduction of the IT technicians? The generator needing repair, Casey going out, finding Breeze, bringing him back? The threats? Will returning, rescuing Casey?

8. The local sheriff, the appeal, his being part of the plan, vindictive? The group going out to pursue Casey and Will? The gunfire? The crashes? The hurricane? The sheriff returning, confronting Perkins, bringing in the other police, their deal, their greed?

9. Will and Casey using their wits, their strength? Pulling down the tower, the attack on them at the time, preventing the code being finished? Perkins and his frustration? The members of the team, the deaths, the brother vindictive? The IT people and their trying to get the probability of the number to finish the code?

10. Breeze, doing his work, trying to free the military? His being imprisoned?

11. Will and Casey in the supermarket, making the contact, Perkins trying to do the deals? On the phone with the manager? Will and Breeze talking, football tactics? Will and Casey and the plan for the explosion, getting the ingredients, the attack, Casey taken? Her doing the deal, rescuing her bag, Perkins shooting the manager dead?

12. Will, the attack, the military, Breeze getting free? Will and Casey meeting at his accommodation?

13. The eye of the storm, the plan, the trucks leaving with the money? Will and his vehicle, teaming up with Breeze? The pursuit of the trucks? The leaps, on the rooms, the young couple, the struggle, taking out of the truck? Continuing on to the second truck? The road, the manoeuvres, the silos and the near crashes? The pursuit by the hurricane?

14. Perkins, angry, the two brothers and their pressing him in, the back opening, the money flying free, his anger, the truck upturned and caught in the storm?

15. A happy ending? The effective blend of action, stunt work, human interest story?

QUIZ

UK, 2020, 145 minutes, Colour.
Matthew Mc Fadyen, Sian Clifford, Mark Bonnar, Michael Sheen, Helen Mc Crory, Nicholas Woodeson.
Directed by Stephen Frears.

Quiz is a three-part miniseries based on an episode in 2001 from the popular ITV television quiz, Who Wants to be a Millionaire?.

The first part of the series is interesting in terms of establishing the history of the program, its being introduced in the 1990s, production discussions about contents and style, the pilot program, the invitation to popular host, Chris Tarrant, to be the anchor of the program. For those who enjoy television quizzes, this is interesting background.

However, the series also presents a court case with Major Charles Ingram and his wife Diana (Matthew Mc Fadyen and Sian Clifford) in court with charges of cheating on the program.

The series then goes back to the background of the major and his wife, her particular interest in quiz programs, her brother, Adrian, rather fanatic on quizzes, inventing a machine to improve his fastest finger talents, making contact with individuals and groups who are obsessed with quizzes and invent ways of aiding contestants, ways of cheating. Once again, this is very interesting and may prove a surprise to most viewers that such groups existed – especially for the device of “phone a friend� and directing the calls to a group, an expert seen as preparing all kinds of answers, priding himself on being able to supply the answer within the short space of time required by the program.

Diana’s brother is a suspicious character, in need of money, dubious connections, present in questionable circumstances on the night in question. Diana herself is preparing a kind of manual to help contestants to be ready to answer quizzes. Major Ingram is a reputable soldier, with his wife and children, persuaded to go on to the program, trained in all kinds of detailed questions by his wife, advisers noting that there was a shift in the type of questions, many relating to popular music and television culture of the time which he knows very little of.

Charles Ingram finds that he is the fastest finger and goes on to the program, Michael Sheen being the very embodiment, and look, of Chris Tarrant and his style on the program.

Major Ingram gets the first question wrong, uses up his connections very early, including a call to Diana’s father who is not able to give him a correct answer. As the show progresses, it would seem that Major Ingram is not up-to-date with the questions, takes a long time to answer, changes his mind a number of times. As the program progresses, he not only changes his mind but chooses answers that he had already said could not be the answer. So there is great dramatic tension as he moves towards the million pounds is and, to everybody’s astonishment, wins.

There are suspicions from the house manager, from the television technician, and suspicions that there are too many coughs indicating answers.

The film is also interesting in showing the production team and their discussions, the technical work in highlighting coughs, various suspicions, especially of one of the contestants sitting in the audience. In the court case, the prosecuting lawyer makes a good case for the couple having cheated. Helen McCrory? as the defence lawyer, does an analysis of the tapes, the editing, the singling out of coughs for particular sequences, the extensive background of coughs and audience reaction.

The screenplay, written by James Graham, seems to be giving both sides of the case, though with scenes of the couple at home, the frequent coughing that passers by inflict on them, a boy spitting on the Major’s face, the media and their suspicions, the drama would seem to be favouring the Ingram’s, so that for those who do not know the court outcome, it may come as a surprise that they are found guilty.

So, looking back, the probabilities are that they are guilty, but the defence makes a good case for reasonable doubts. The judge gave them a suspended sentence and they were to spend time preparing their appeal.

Stephen Frears has had a long career, almost half a century in directing a vast range of films as well as television programs.

1. The title? Audience interest? Television quizzes, choosing of candidates, questions and answers, prizemoney intentions, compere? Audience participation in the studio? The at-home audience?

2. The English version of Who Wants to be a Millionaire? The 1990s, ITV, Paul Smith and his idea, his partners, presenting the ideas to the executives, meetings, discussions, questions, the issue of the compere, Chris Tarrant, the pilot show, the song and the title for the quiz, favourable results, going into production? The film providing background for audiences to understand details of and action for programming?

3. The format of the show, the fastest finger to get the candidate, the different stages of questions, money prizes?

4. The framework of this series, the court case, the Ingrams in court, the other member accused, the indication of cheating, the prosecutor, the defence lawyer, the jury?

5. The background of those interested in quizzes? Diana Ingrams brother, Adrian? His obsession, practising, applying to go on the show, the machine for the fastest finger section? His contacts, other fanatics? The background of the group, the expert, the links, examining all the questions, getting the data? “Phone a friend� and the calls being diverted to them, the expert finding the answer? The widespread influence in the 1990s and early 2000’s?

6. The Ingrams, Charles and his military background, his relationship with his wife, the children, his brother-in-law, the brother-in-law and his financial needs? Diana, her continued interest, connections, writing the manual?

7. The family going on the show? Charles going on, winning the fastest finger? His performance on the show, getting the first question wrong, using up his options? His father-in-law not able to provide a correct answer? The suspicions of the floor manager, the television technician? Giving the information to the producers?

8. Charles Ingram and the further questions, stating that an answer was wrong and then actually choosing it? Possibilities for cheating? Headphones? Coughs? His saying that he was playing to the tension of the program? His winning the million pounds?

9. The immediate suspicions, the activities of the producers, the meetings, checking the video, editing, highlighting coughs? The issues of the law? Paul Smith, coming in at the end? The sponsors and their reactions? Chris Tarrant’s opinion?

10. The treatment of the Ingrams, the police arriving, the mocking with so many coughs, the boy spitting at Charles? The issue with the military and his going on leave? The situation at home with the children?

11. The court case? The suspicions of the brother? The other competitor and the accusations of coughing? The questioning of Chris Tarrant?

12. The intensity of the prosecutor, the questions? The obvious improbability that of all people Charles Ingram could not win £1 million? The work of the defence lawyer, finding all the loopholes, the bias in the editing to find them guilty by the producers, the characters? Not guilty beyond reasonable doubt?

13. The screenplay, in favour of the Ingrams? Audience shock at the jury’s verdict of guilty on all counts?

14. What was the audience left with in terms of innocence or guilt of the Ingrams? And the reputation of the shows and the possibilities for cheating?

THE WOMAN IN BLACK: ANGEL OF DEATH

UK, 2014, 98 minutes, Colour.
Phoebe Fox, Helen Mc Crory, Jeremy Irvine, Oaklee Pendergast, Adrian Rawlins.
Directed by Tom Harper.

The Woman in Black was a very successful in play written by Susan Hill, performed on the London stage for several decades. There was film adaptation in 2012 starring Daniel Radcliffe. It was quite successful and lead to this sequel.

The action in this story takes place 40 years later. The film shows, quite graphically in its opening, the impact of the Blitz. Eight orphan children are taken to the countryside by two teachers, one played by Phoebe Fox, the older, played by Helen Mc Crory. In the district, they encounter a young man from the air force, Jeremy Irvine, grounded, in charge of a false decoy aerodrome in the area.

The setting for the film is the old house, this time quite dilapidated and in disrepair. An obvious setting for this kind of horror film. However, the film is eerie and creepy rather than the emphasis on the horror. The younger of the teachers has nightmares involving herself, has a sense of the presence of the evil woman, considered in the title as an Angel of Death. One of the children, Edward, played by Oaklee Pendergast, does not speak, has a mysterious drawing, is under the spell of the woman.

There are various strange experiences, the young teacher becoming more anxious, Edward going into the water, her going to rescue him, the young airman arriving and diving in, but unable to save the two from the mysterious people Angel of Death.

A partly happy ending, teacher and boy saved, but the airman drowning – and then said to be looking down to protect them.


1. The popularity of the original film? (And the long years of its theatrical presentation in London?)

2. 40 years later, World War II, the presentation of the Blitz, the children’s move into the countryside, the train travel, the bus, going to the abandoned house, the disrepair, unsuitable for orphans?

3. The countryside, the island, the road and the causeway, the incoming tide? The house, the grounds, the water? The interiors, the dormitory, kitchen, upstairs, corridors, closed rooms, downstairs, the basement, ominous signs? The musical score?

4. The atmosphere of the Blitz, the station, the bombings, the devastated homes and streets? The railways?

5. Eve, Jean, their personalities, the age differences, Jean in charge? The eight children? The boys and girls? The travel, Dr Rhodes, the dark, no lights? The house itself, the detail, the settling in, the dormitory, the beds and the bedding? The meals?

6. The children, their age, characters, Joyce and her responsibility, the two boys and their teasing Edward, Edward not talking?

7. Eve, the encounter with Harry, his story, the air force, grounded, looking after the centre, his jeep? Driving across the causeway? The attraction to Eve? Their confiding in each other? Driving with the tide coming in? Jean and her disapproval?

8. Life in the house, Eve and the sense of the sinister presence, her dreams, going to the room, watching, yet her giving birth, the taking of the baby? The basement? The sinister message an accusation? Eve and the growing sense of the presence of the woman in black?

9. The ghostly presence, images, her taking possession of Edward? The two boys, their taunting him, his drawing? The death of the boy and drowning? Reaction of the other children?

10. Eve, wanting to save Edward, trying to protect him? Jean and her reactions? Her own story, discussions with Eve?

11. The buildup to the final confrontation, the doctor, the dark, Harry? The water, Edward in the water, Eve going to rescue him? Harry and his diving into the water, his attempts to save Eve and Edward? His drowning?

12. The final appearances of the woman, her being conquered? Peace for Eve? Edward speaking? Eve reassuring him – that Harry would continue to protect them?