MINESWEEPER

US, 1943, 67 minutes, Black-and-white.
Richard Arlen, Jean Parker, Russell Hayden, Guinn "Big Boy" Williams, Emma Dunn.
Directed by William Berke.

The main reason for looking at this film is to see the kind of small budget propaganda films that contributed to the US war effort in 1943.

The film focuses on the role of minesweepers, background from British experience in the Atlantic and the English Channel, but closer to home with German submarines and mines near the United States. The budget of the film was not large and, while there are some underwater sequences, there are no big action pieces, searching for mines, explosions… There are some explosions and some deaths but presented in a fairly modest-budget way.

Richard Arlen was a popular screen presence at the time, is seen as a hitchhiker picked up by a genial Guinn Williams, persuaded to enlist, their both finding some camaraderie with the various minesweepers. They are also welcomed into the family home, a genial mother and her meals, and an attractive daughter, Jean Parker, and a young man who is in love with her.

Clearly, there are the ingredients for some drama pieces. Richard Arlen, claiming to be a Smith from Tennessee, is actually a man who graduated from the academy, has a skill with mines, but got involved with gambling and money difficulties and deserted. The authorities discover who he is. There is also a complication that he falls in love with Jean Parker and there is trouble with the young man who was to propose to her.

There are scenes of life at home, there are scenes of the men relaxing, there are scenes of action on and under the water.

There is a crisis about the mines, the discovery of a new mine and the need for somebody to dive, find the mine and describe it for the authorities. Arlen has gone on a gambling binge in order to raise money to buy an engagement ring for Jean Parker. Williams has covered for him and goes out in his stead and is killed in action.

Needless to say, Arlen who is under suspicion and restraint because of his past, volunteers to go down, gets the information, saves the other diver and, in the spirit of World War II, sacrifices his life, admitting that he had made mistakes, and dies in action.

CITY WITHOUT MEN

US, 1943, 75 minutes, Black-and-white.
Linda Darnell, Edgar Buchanan, Michael Duane, Sarah Allgood, Glenda Farrell, Leslie Brooks, Doris Dudley, Margaret Hamilton, Constance Worth, Rosemary De Camp, Sheldon Leonard, Joseph Crehan.
Directed by Sidney Salkow.

The title now seems rather sensationalist. In fact, this is something of a propaganda film from Hollywood in the middle of American involvement in World War II.

The film focuses on a captain who has signed on to serve in the Coast Guard (Michael Duane). On patrol, he comes across a boat with illegal Japanese and sights a German destroyer. His action comes under suspicion from the authorities, the Japanese testify against him, he goes to court and is found guilty and sentenced to 5 years in jail. His fiancee, played by Linda Darnell at the beginning of her successful career, is upset, wants to hire a lawyer, goes to a boarding house near the prison so she can be near him.

The boardinghouse is the city without men. There is a very good supporting cast of women, Sarah Allgood playing the manager of the boardinghouse, her husband in jail for life having attempted to escape. Glenda Farrell does her usual hard-boiled character, Constance Worth is very earnest, Rosemary De Camp devoted to her husband and, surprisingly, Margaret Hamilton (the Wicked Witch of the West from the Wizard of Oz) is a hard drinking card playing wife.

Of the men, Edgar Buchanan plays an alcoholic judge who pretends to be involved in the case, but is provided with some evidence to help the young man, and goes to his quite aristocratic brother to appeal to him to reopen the case. Interestingly, there is a priest character, Joseph Crehan, a strong presence, deals reasonably with the men.

However, an escape is planned, most of the men being in on it, but relying on the captain to pilot a boat for their escape. Sarah Allgood’s husband gives information about the escape but is murdered, most of the women having collaborated in the plan except for Linda Darnell. The plot is thwarted – and Justice seem to be done for the captain.

While the story has many familiar elements, they come together quite interestingly – though the contemporary audience will have to take account of the propaganda purposes of the film.

The screenplay was written by Bud Schulberg, prominent writer, winning an Oscar for On the Waterfront.

THE ENDLESS GAME

UK, 1989, 117 minutes, Colour.
Albert Finney, George Segal, Kristin Scott Thomas, Derek de Lint, Ian Holm, Anthony Quayle, Michael Medwin, Nanette Newman, Monica Guerritore.
Directed by Bryan Forbes.

The Endless Game was screened on television only a few months before the Berlin Wall came down. This was an unexpected event in late 1989, most people thinking that the Cold War would continue for many years. Which means that this film, shown over two nights on television, was soon out of date, so to speak.

However, the action and themes and characters resemble those of the espionage world of John Le Carre. The film is based on the first novel in a trilogy of spy stories by writer-film director, Bryan Forbes.

The film opens with a mysterious murder of an old, demented woman in a nursing home. The audience is able to see who the murderer is, played by George Segal. However, there is a surprise twist towards the end of the film in the audience realising who he is and what role he has played during the Cold War. At the centre of the film is Albert Finney as a familiar kind of British spy, with a cover as a wine merchant in London, married (and his wife is played by Forbes’ real-life wife, Nanette Newman, who appeared in most of his films). But, he has had an affair in Europe with a fellow-spy, played by Kristin Scott Thomas in an early role. She is the woman who was murdered at the opening of the film.

There are a number of vintage British supporting actors in the film, including Anthony Quayle as a double agent, Ian Holm as Control, Michael Medwin as a government minister.

The film also has an international cast led by Derek de Lint as a Russian officer in charge of bringing over Albert Finney who was commissioned by Control to go back out into the cold, to seemingly defect to Russia, in order to find out who is the murderer and who has been a source of espionage links.

In retrospect, this might not seem as powerful as the film versions of the Le Carre novels, but, in taking us back into this Cold War World, it has interest and entertainment value.

1. British espionage? British offices? During the Cold War?

2. The 1960s to the 1980s in Europe, Eastern Europe, in Berlin? The film released months before the coming down of the Berlin Wall? The atmosphere of John Le Carre’s stories, Len Dighton?

3. An international production, made for television, the visual style for television? The strong cast? Bryan Forbes as writer and director?

4. The opening, the focus on the home for the elderly, the old woman looking a wreck, her illness, the doctor, his disguise, inserting the syringe? Leaving the home, going to the public toilet, removing his disguise? His being observed? The prostitute, in the flat, her behaviour, his killing her? On the plane, going to Europe, having taken the photo, bringing it to the minders, the execution of the man in the water as a demonstration?

5. The spy and his lover, their plans? Her relationship with Belfrage and his political status, later at the Brother of Mercy home, the attempt to seduce Hillsden? The final photo with the Minister – and his becoming prime minister?

6. Albert Finney is Hillsden, his relationship with his wife, the long marriage, his espionage, his cover as a wine merchant, having to leave the party, going to the offices, the discussion about the situation, the death of Caroline, the memories, her contacts, the interrogation and her debriefing, the effect on her, her death? The minister and the impact of her having his photo?

7. The effect on Hillsden, the flashbacks, in love with Caroline, their work together, the travel, the Verboten room and the ugliness of the flies, later used for her interrogation? Hillsden and his not wanting to visit her, not able to face it?

8. The suspects, the various members of the office and the search for the killer? His going down to interview Glanville, Glanville as a double agent, his work in the past, double agent and interrogation, knowing Caroline, the interconnections with the Americans, with Jock? The news that he was murdered?

9. Control? Interviewing Hillsden, the mystery, the need for information, the leaks? Control and his suggesting Hillsden go into the cold, disappear, go to the Brothers of Mercy, on the beach, the Italian spy, the interactions, his being taken, the interrogations? The newspaper headlines, the information about his being a traitor, murdering the prostitute?

10. In Russia, Abramov, the Russian officer, interrogating Hillsden, the discipline, the information, the friendship, improving conditions?

11. Jock resurfacing, the irony of the audience knowing who he was, what he had done? The stories of the past? With Hillsden? With Caroline? The information, the friendship with Hillsden, sharing? The episode with the prostitutes, Jock killing the girl? Hillsden’s reaction?

12. Jock, his mentioning of the clock in Caroline’s room, his explanations, Hillsden’s reaction, smothering him?

13. The irony of the ending, the nature of spying as an endless game, the British, the Minister becoming Prime Minister the whole story of his recovery the photo and covering his role as a leak?

THE YELLOW BIRDS

US, 2107, 94 minutes, Colour.
Alden Erenreich, Tye Sheridan, Tony Collette, Jennifer Aniston, Jack Huston, Jason Patric.
Directed by Alexandre Moors.

The title for this war film comes from a verse for the military march theme, Sound Off, where the recruits are referred to as yellow birds.

This is a film focusing on the younger recruits, volunteers to go to wars in the Middle East. The focus is on a young man, Daniel/Murph, Tye Sheridan, earnest, planning to study history, but trying to do the right thing in going to war. In training he comes across another young man, Brandon, friendly but not having had opportunities for study or making something of himself, played by Alden Ehrenreich. A sergeant takes them under his wing, their forming a small group when they go for service in Iraq. The sergeant is played by Jack Huston. (Alden Ehrenreich gives quite a different performance from his Han Solo in the Star Wars epic and his cowboy in the Cohen Brothers Hail, Caesar. And Jack Huston played the more recent Ben Hur. Tye Sheridan had a number of significant roles in Mud and Ready Player One.)

There are sequences of training. There are sequences of bonding. There are action sequences, raids and attacks, explosions and injuries, graphic deaths. The effect of the war experience is disillusioning for Daniel, shattering his ideals, urging him to walk away from action – with deadly results. These results have an effect on Brandon as well as the sergeant, leading to decisions and behaviour that call them to account when they return from the war.

Of particular interest is the portrait of the two mothers. Daniel’s mother is played by Jennifer Aniston, who has asked Brandon to tell her if anything happened to her son and, at the end, he does. On the other hand, Toni Collette is very effective as Brandon’s mother, neglected by him, yet loving him and concerned. The scenes between the two mothers are quite effective.

The screenplay was cowritten by David Lowery, editor and writer, his films as director include Eight Them Bodies Saints, Pete’s Dragon, A Ghost Story, The Old Man and the Gun. Dir Alexandre Moors began his career in France.

1. A war film? The portrait of war and action? The critique?

2. The title, the verse of the song for Sound Off and the military drill?

3. The Virginia settings, homes, the town? The forts and the basis? Iraq, the base, the desert, the village and action? The river? The musical score?

4. The structure of the film, times and flashbacks, flash forwards? The effect for storytelling and audience understanding and appreciation? The reprising of past scenes and their having more meaning?

5. Daniel Murphy, his age, experience, doing something worthwhile with his life, enlisting, an idealist, intending to study history? His parents and visit, the meal? Sterling and his interest in Daniel and Bartle, making them the particular group, offering his protection? Going to Iraq, the effect, observing the action, seeing the injuries, the young men themselves being injured, shrapnel being removed from Daniel? The orders, the action? His growing alienation, alone, sitting in the dark, observing the nurse, sitting in the armchair, wandering away? His death? An expression of alienation? The search for him, sitting in the lounge, walking away, his dead body?

6. The contrast with Brandon, his life, not studying, sexual relationships, harsh on his mother? His meeting Murphy’s mother, the discussions, promising that he would tell her if anything happened? With Sterling, with Daniel, the special squad? In Iraq, the action, his accepting the military warfare? The scene of the dance, encouraging the nurse to come and ask, Daniel’s awkwardness? The shelling, the nurse dying? Brandon and Murphy and his being alone, sitting in the chair, the mystery, Sterling and Brandon trying to find him?

7. The return home, staying with his mother, his treatment of her, her emotional reaction? Alone, sleeping, phoning Sterling, going to the factory, the mattress? At the store, the boy? The enquiries from the CID officer? His answer to the questions, the flashbacks and the old lady indicating where Murphy had gone, the old man with the cart? His wanting to speak with Murphy’s mother only? Telling the story? The flashbacks, the search for Murphy, finding the body, the wounds? The decision, the motivations? Wrapping the body, putting it in the water, Brandon in the water and the scene reprised? Sterling and his shooting the man with the cart? The cover-up?

8. Sterling, as sergeant, the rifle range, choosing the two, together, the help on the raids, under fire, the search, finding Murphy, the death of the old man?

9. The military leadership, urging them to action for the best day of their lives, the scripture quotations? The body bombs in the streets, the vehicles exploding, the range of injuries?

10. The two mothers, Brandon’s mother, her concern, with his mother, the visit, talking and sharing, mutual support?

11. Brandon and his talking with Murphy’s mother, promising her that he would tell her the true story, the ugliness of the story, the sadness? The decision about not going to the authorities? The river? His explanation of the flow of the river out into the Gulf into the sea? The consolation of telling the story about Murphy, the dance, his reluctance, his
awkward dancing but his happiness?

12. An illustration of traumatic stress during war action?

SHOPLIFTERS

Japan, 2018, 121 minutes, Colour.
Directed by Hirokazu Koreeda.

Japanese director, Hirozaku Koreeda, is a specialist in making films about ordinary people, opening up this world of ordinary people, of characters who are less well-off than the cinema audiences, but enabling those audiences to see how the other half live, their struggles for survival, the effect on their lives.

Koreeda has explored how children, orphaned, might organise their lives and survive for some time, a film called Nobody Knows. Of the film is in this vein include, Like Father, Like Son, Our Little Sister.

This time he invites us into a world of survivors, men and women, children, and an old grandmother.

But, the title is telling. While the group finds it hard to survive, one of their means is literal shoplifting. Almost immediately, we are in a supermarket, the father doing the shopping with a basket, a young boy scouting the goods, making signals, hiding things in his clothing, walking out of the store undetected.

The next sequence adds to the complexity of the story. On the way home, they call into a store and buy some croquettes, eating them happily as they walk through rather dingy streets, but glimpsing a little girl looking forlorn, offering her a croquette, overhearing her parents arguing about her. They take her to the very busy house, give her something more to eat, she responds happily, they try to take her home but are disturbed and bring her back to the family, her staying the night, the giving her a name, dressing her, keeping her – and they will later be accused by the police of kidnapping.

We get an opportunity to look briefly at the story of each of the characters at home. The shoplifting boy is an orphan. The grandmother presides – but we find her going to a wealthy family and getting a subsidy, later learning that there were some sordid aspects in her children’s marriage, including infidelity and murder. A young adult daughter branches out to console men clients. Despite an exhilarating train journey and day at the beach, life is hard.

While what seems to have been something of a genial storytelling, despite the shoplifting at the opening of the film, it moves into more dramatic, or melodramatic situations, moving also towards resolutions which may well be for the better for each of the characters but make some harrowing demands on them.

1. Winner of the Palme D’ Or in Cannes? The work of the director, his career, the Japanese settings, humane and his sense of humanity, stories of ordinary people?

2. The title, the indication of the way of life of the central characters, lives of joy and sadness?

3. The city locations, the poorer homes, the streets, the supermarkets, the train ride, the beach, the police precincts? The musical score?

4. The situation, the Father and the son in the supermarket, the system for buying and the child shoplifting? Their going home, buying the croquettes, seeing the little girl, overhearing the parents and their squabble, taking the child home, the decision to keep her (later the police accusing them of kidnapping), feeding the little girl, returning her but letting her stay, overnight, her wetting the bed, the food, giving her a name, keeping her, bringing joy to the life of everyone in the house?

5. The details of life in the house, the bonds between everyone, men and women, young and old, the grandmother and the focus on her? Jobs, the father losing his job by injury, at home? His sexual relationship with his wife? The gradual information about past, marriage and jealousy, murder? The revelation about the money motivations, the grandmother going to the family, getting a subsidy from them? The mixture of humanity and the touches of greed?

6. The focus on little girl, her age, response, her name, dressing her, the food, and the joyful expedition to the beach?

7. The young boy, his skill and method for shoplifting, his coming from an institution, at the beach, with the little girl, the storekeeper warning him not to train the little girl as a shoplifter?

8. The parents, the sexual relationship, the injury, no work? The care for both of them for the little girl?

9. The personality of the grandmother, her visit to the house? The suddenness of her death? The concealing of the deaths, the financial implications, not wanting the government to know? The bequests?

10. The boy, resuming shoplifting, the pursuit, his fall and injury, in hospital, his having done this deliberately, to get out of shoplifting? The visits to the hospital?

11. The police, the interviews, interrogations, the revelation about the truth and the marriage and the death? The kidnapping? The mother going to prison? The role of the grandmother?

12. The boy, the father keeping him, their sharing, his giving him back, at the bus stop?

13. Little girl, returned, the family, the different name, her future?

14. The effect on the audience of experiencing all of this?

DESCENDING ANGEL

US, 1990, 98 minutes, Colour.
George C.Scott, Diane Lane, Eric Roberts, Mark Margolis, Vyto Ruginis, Amy Aquino, Ken Jenkins, Elsa Raven, Richard Jenkins, Jan Rubess.
Directed by Jeremy Paul Kagan.

As the 1990s approached, there were a number of stories about the search for World War II criminals. Examples were the Australian film with Max Von Sydow and Julia Blake, Father, as well as Jessica Lange and Armin Mueller-Stahl? in The Music Box. This film was made by HBO, designed for television release.

The memories in this film are from Romania, at the time of making the film undergoing enormous changes with the dictator, Ceascau being publicly executed.

This film is different insofar as the investigation is all done in Grand Rapids, Michigan, and the main investigator is a young physical education teacher engaged to the daughter of the now respectable former Iron Guard fascist, played in his inimitable way, authoritative, sometimes charming, often sinister, by George C Scott. Eric Roberts has a very good role as the young man. The daughter is played by Diane Lane.

With changes in Romania, a refugee arrives in the US, with memories of the massacre when he was seven. He is accusing the now-successful antiques dealer. This makes the young man somewhat suspicious, but situations arise which lead to the refugee’s death, other suspicious circumstances – contact with the local Orthodox bishop who supports the antiques dealer, Jan Rubes, and a journalist who had investigated the situation but had been crippled by thugs, Ken Jenkins. Richard Jenkins has an early role as the local police chief.

The film is interesting with its portrayal of the Romanian community in Grand Rapids, the continuation of the Iron Guard, the issues of conscience, that all these events happened in the past and should be left there.

The film is directed by Jeremy Paul Kagan made a number of interesting films of the time, Heroes, The Big Fix, The Chosen. His later work was in television.

1. The legacy of World War II, fascists and Nazis and their behaviour during the war, the escape from Europe at the end of the war, settling into such communities as the United States?

2. The need for retribution, for Justice? For the unmasking of the criminals?

3. 45 years since the end of World War II, the ageing of the war criminals, their covers, the respectability in their communities, the continuation of fascist guards and brutal behaviour to opponents? The importance of the Romanian Orthodox Church?

4. The Grand Rapids setting, the city, the streets, the mansions, the shops, the Cathedral, the basement, the countryside and the roads? The musical score? The Romanian songs? Image of Michael the warrior archangel?

5. The opening, the sexual atmosphere, Irina and Michael, setting the scene for the bond between them and the challenge to their love? Going to Grand Rapids to meet Irina’s father, Vera and her welcome, managing the household, Florian and his age and status, the antiquities store, the tapestry and the gift for the wedding? The meals? Serious behaviour within the house (and the couple later going to a motel)?

6. Michael, his character, earnest American, physical education teacher, going for a run each morning, his love for Irina, preparing to meet her father, trying to be discreet, some faux pas, meeting Glenn and his wife, Glenn and the past with Irina?

7. His being accosted by the Romanian, his initial reactions, continually meeting him, the man and his story, the accusation against Florian? The effect on Michael, disbelief? At the bookshop, looking at the book, the pictures of the village and the massacre, graphic? His wanting to buy the book, taking it but leaving the money, a bit short, his being accosted, the accusations of the bookseller, Glenn saving him and taking him back?

8. Florian, is a character, George C. Scott character? Age, his claiming to be the prisoner in the camp, at book and filed? Irina and Michael going to see the Bishop, the Bishop vouching for Florian, the copy of the FBI investigation? Michael later returning, finding the documents?

9. Irina, the story of her family, but her mother and her disappearance? And not knowing anything about her mother? Michael and his research, looking at the articles, going to see Sam Murray, Murray and his injuries, information for Michael? Michael going to the institution, the documents, Florian having committed his wife, her mental condition, the several attempts at suicide, her being buried, Michael with the flowers at her grave?

10. Florian and his political influence in the town, his reaction to Michael’s investigations, his explaining what happened to Irina, his justification because they were difficult times and different times, his love for her not wanting to lose her? Her reactions?

11. Michael, the phone call, taking Irina to meet the Romanian, passing the car crash? The police, his being apprehended, memories of the charge about the book and its price, his staying the night in jail, Irina releasing him on bail?

12. His determination, with Sam Murray, everybody going to the Cathedral, his going into the basement, getting the documents, the former wrestler and his role with the Bishop, his going to the Bishop’s house, locking Michael in, Sam watching, suspicious? The warning to the Bishop and to Florian, Irina in the audience watching? Michael, running, the vehicle and the pursuit, his being chased by Glenn and the wrestler? The gun, Irina coming out in front of the Cathedral?

13. The credibility of Irina being shot, her father’s grief – in the film leaving an open ending for the audience?

COLETTE

UK, 2018, 111 minutes, Colour.
Keira Knightley, Dominic West, Fiona Shaw, Al Weaver, Denise Gough, Robert Pugh, Julian Wadham.
Directed by Wash Westmoreland.

Older audiences who have a fondness for the 1958 Oscar-winner, the musical, Gigi, are probably aware that it is based on a story by the French novelist, Colette. The viewing of this film may make them realise that apart from the Gigi story, they really didn’t know much about the author at all.

This film will supply her background and her story during the 1890s and 1900s, to 1906. There is some supplementary information given during the final credits as well as some relevant photos of Colette.

When Keira Knightley is at her best, she is often at her very best. And this is the case here. At the opening of the film, she seems an innocent young French country girl, aged 20, living at home with her parents, a strong mother (Fiona Shaw) and a war-invalided father (Robert Pugh). However, almost immediately, we find that she is not as innocent as she looks. The family have had a visit from a publisher from Paris (referred to by the screenplay simply as Willy, Dominic West, although his name was Henri Gauthier- Villars). The young girl goes out into the barn, involved in a passionate affair with Willy.

The country background is important for Colette (who is full name was Sidonie-Gabrielle? Colette abbreviated by her for authorship to the simple Colette). In moments of distress she will return to her mother and for her father’s funeral. Willy, at one stage, buys her a home in the countryside. And she draws on her experiences when she eventually comes to write stories, creating a character Claudine who resembles Colette in many ways.

The reason for her writing stories is that Willy is an entrepreneur, with a stable of authors who write books on commission which he publishes under his own name. But he lives a high expense of life, is something of a libertine (with a repetition of his rationale that this is what a man does). Generally in debt, he finds ways of tiding over and one of these is a brainwave that Colette write down her memories and stories. He is somewhat critical at first even though he always expresses his love and devotion to her. Potential necessity means publication but he is amazed at the instant popularity of the Claudine stories, the range of readers, especially young women, the instant commercialisation of Claudine and products bearing her name, speculating on theatre performances and auditioning women to take the role. He even persuades Colette to cut her hair in the fashion of Claudine and to wear her dress, something like a school uniform.

Gradually, Colette becomes her own woman. She begins to see through her husband’s flamboyance, not taken in by his brazen manipulations, unpersuaded by his bombastic enthusiasm.

There is a further complication, emotionally, when Colette realises that she is attracted to women, at first an American heiress married to an older Frenchman, then an encounter with a strong-minded woman, Missy (Denise Gough), moving into live with her, training to be a dancer and performer,even Willy promoting her at the Moulin Rouge which ends in something of a disaster after an onstage kiss with the audience booing and condemning.

And this is where the film leaves her, and author, a performer, a rebel personality – all of which she continued until death in 1954, even receiving a Nobel Literature nomination in 1948. (While the credits indicate that she spent some years with Missy, they do not mention that she had two subsequent marriages and had a son.)

The 1890s and 1900s were called La Belle Epoque and this film immerses the audience in that era (which did change from Penn and ink to typewriters, gaslight to electric light, carts and horses to bicycles and cars).

1. A story of France at the end of the 19 century? Beginning of the 20th? La Belle Epoque?

2. Audience knowledge of Colette, as a person, as a writer, her reputation?

3. Colette, her reputation, author, the performer, her personal life, relationships, with both men and women? Awards, nominated for a Nobel Prize?

4. The re-creation of the period, the 1890s, the 1900s? The change during the decade, from pens to typewriters, from gaslight to electric light, from carriages and carts to bicycles and cars…? Costumes, decor, art styles? The musical score?

5. The introduction to Colette, Keira Knightley’s performance, persuasive? In her room, the cat, with her parents, her father wounded in the war, her strong mother? Her age, seeming innocent, yet the liaison with Willy, and the barn?

6. The screenplay providing dates and indications of progress? The move to Paris, Colette marrying Willy? At home, his introducing her to society, the party, her being bored, watching the tortoise with the jewels? Seeing Willy with other women? An incipient jealousy?

7. Dominic West as Willy, his age, reputation, libertine, his father in the war, the friendship with Colette and her family? His male chauvinist attitudes, permissiveness because that is what a man does? His enthusiasm, bombastic? His name in publishing, his range of authors, the writing and his assuming their reputation? Spendthrift, lack of finance, luxurious lifestyle? With Flaubert and the other writers, discussions, commissioning them, the urgency?

8. Life with Colette in Paris, the idea that she should write down her stories, his listening to them, the first story, writing by pen, her being pleased, Willy and his critique? The changes, his later using the changes he wrote on the manuscripts to secure his authorship? The character of Claudine, echoing stories of Colette, the further writing, reflecting her style, her age, her experiences? Success, the readership, especially young women, a voice for younger women? The hairdos, the styles in fashion, the commercialisation and goods attributed to Claudine? Willy and his being pleased? Colette and her accepting? Dressing and haircut like Claudine?

9. The ups and downs of the marriage, of the publishing industry, money, Colette continuing to write?

10. The meeting with the couple, Willy’s comment about the man, Colette saying the attraction was to the woman? The encounter with the American woman who was married to the Frenchman, the meeting, the visits, the sexual relationship? Willy and his pursuing the woman, Colette catching him? The social implications, the buying up of all the novels indicating the relationship, the book burning? The social, Willy and his enthusiasm, reading, standing on the table, Missy amongst the guests? The attraction for Colette?

11. The dancer, performing as the countertenor, socials? Coaching? Colette and her being trained to dance? The performance with Missy? The Egyptian setting? Willy and his delight in the bookings? Promoting it? The dance, the reaction, Moulin Rouge? The kiss, the reaction, boos and the audience throwing things at the stage?

12. Colette and her relationship with her mother, the mother’s comments, Colette visiting, the father’s death? Her being from the country, not having the dowry, essentially repaid because of the royalties from her stories? Willy and his taking her to the country, buying the country house, for her to write, locking her in her room?

13. Claudine and the theatre, creative, the auditions for actresses to play Claudine? Clothes, fashion, the popularity? Performances, popularity and applause?

14. Willy and his financial difficulties, selling all the rights to the publisher, Colette shocked? Willy and Meg coming for the autograph, the affair? Yet his continued declarations of love? His dismissing the sale as business, their proceeding to divorce?

15. Willy commissioning Paul to burn the manuscripts? Is Not doing this, giving them to Colette?

16. The film ending but giving information about Colette, her continuing in the theatre, her success, her writing, the relationship with Missy? (Not giving information about subsequent marriages, long-term, a son)?

17. The information about her reputation, awards, French icon?

UNPUBLISHED STORY

UK, 1942, 93 minutes, Black-and-white.
Richard Greene, Valerie Hobson, Basil Radford, Roland Culver, Brefni O' Rorke, Miles Malleson, George Carney, Muriel George, Andre Morrell, Frederick Cooper, Ronald Shiner.
Directed by Harold French.

While this film is certainly of its time, Britain, 1942, it is still interesting in its portrait of the war effort, the danger of espionage in the fifth column, the feel of Britain at this period.

Richard Greene plays an ace reporter, who is rescued from Dunkirk, goes back to his paper, becomes suspicious of Peace groups, deciding that they are just covers for fifth column infiltration. He becomes involved with mysterious personnel who turn out to be members of the British government, working undercover. Valerie Hobson plays a reporter who is about to go to New York, is also interested in the Peace groups, more sympathetic, but becoming involved with her fellow reporter, touches of rivalry, memories of screwball comedies of the 1930s and the battle of the sexes, but it all coming together with very serious implications.

There is a very strong supporting cast of British character actors including Andre Morrell as a spy and Ronald Shiner, before his comic turns, as a pub rabble browser for the fifth column.

Directions by Harold French, prolific during the 1940s, contributing to film versions of Somerset Maugham stories in Trio, Encore, Quartet.

1. The World War II story, Britain, London, morale boosting, propaganda? The atmosphere in 1942?

2. The film as a drama, topical, going beyond its wartime propaganda?

3. The recreation of the period, the atmosphere of Dunkirk, London, newspapers and publication, rallies and protests, the role of the government, peace groups and their being considered as manipulated by the Nazis? The visuals of the Blitz? The musical score?

4. The role of newspapers, the journalists and enquiries, stories, information, morale-boosting? The range of staff, the range of articles and columns, reports, the editor, the censoring of material and restriction of information? Serious and humorous details of life the office, rival columnists, the death of the columnist in the Blitz? Subsequent grief?

5. Bob Randall, in Europe, stranded at Dunkirk, repatriated? His role as a journalist? His status of the paper? His patriotism, the motivation after the Dunkirk experience? Missions, his spirit, his suspicions of the Peace groups? Going to the meetings? The encounters with Carol? Sparring? Eventual collaboration, the relationship?

6. Carol, the prospect of going to New York, women as journalists at the time, her columns, her going to the Peace meetings, investigations and interviews? The interactions with Bob, for and against, his being chauvinist, her response? The eventual collaborations, exposure of the Peace group? The dangers with the fifth columnists? The Blitz and the experience and the dangers? Rivalry?

7. The members of the Peace groups, the president, his speech, the various members? Earnestness? Pacifism? Their being manipulated by the fifth column?

8. Marchand, landing in England? The contacts, the leader and his suave manner, keeping the cover?

9. The interaction with the president of the Peace group, under pressure, interrogated, the threats? The fifth column undercover, government inquiries?

10. Lamb, his interactions with Bob, Bob suspicious, with the Peace groups, government intervention, classified information, the government using the journalists for information, interventions?

11. The picture of demonstrations, the rabble rouser and his going to the pubs, rabble rousing for the fifth column?

12. The Blitz, the visuals, the dangers, travelling outside London, covering stories?

13. The experience of the head of the Peace group, terrorised, the status of the groups and their being under suspicion?

14. The resolution of the story – but still open as the war continued?

‘C’- MAN

US, 1949, 75 minutes, Black and white.
Dean Jagger, John Carradine, Harry Landers, Lottie Elwen , Rene Paul.
Directed by Joseph Lerner.

This is a small semi-documentary drama of the late 1940s, popular at the time. Instead of the famous G-men, this is a story of investigators for customs, C. It is set in the atmosphere of Europe in the aftermath of World War II, migrants, the experience of the Resistance, jewellery and smuggling?

Dean Jagger (the dialogue saying that he was 35 when he does not look this and he was in fact 45) is a customs investigator, coming from a fishing holiday, learning that his colleague had been murdered. His commission to investigate, to go to Europe, track the killer who had been identified, search for a necklace which had disappeared and was to be smuggled back to the United States.

He makes connections, meets a young woman, of Dutch origins, very chatty at the airport, also chatting on the plane, subdued during the flight by doctor injecting her, abducted after arrival in America. The alleged killer is also on the plane, but is able to disappear on landing.

The investigator goes undercover, connects again with the young woman, accosts the killer and his associates, he being suave, his main collaborator being a thug, with scenes of very violent behaviour. There is also the woman who owned the necklace and wants to recover it.

The plot is complex, the nature of the smuggling ring, where the necklace was hidden, the recovery, the woman who owned the necklace being something of a femme fatale, in league with the killer, plans for smuggling, selling and making money. The agent also tracks down the alcoholic doctor who administered the drug on the plane.

The agent acts rather smoothly at some stages, especially in a restaurant, indicating to the thug that his being doublecrossed. The agent then goes into action, fights, confrontations, deaths.

Needless to say, the bond between the agent and the Dutch woman is strong and he is able to look after her in collaboration with his wife.

Of musical interest, the score is sometimes strident, sometimes melodious, sometimes seeming to comment on the action, sometimes in contrast. In fact, the musical score by Gail Kubik forms the basis for the composer to make a symphony which won the Pulitzer Prize in 1952, Symphonie Concertante.

THE CHILDREN ACT

UK, 2018, 104 minutes, Colour.
Emma Thompson, Stanley Tucci, Ben Chaplin, Fion Whitehead, Jason Watkins, Nikki Amuka- Bird, Rosie Cavaliero, Anthony Calf.
Directed by Richard Eyre.



Emma Thompson plays Fiona Maye, a London judge who administers the Children Act, presiding over court cases with such issues as the separation of Siamese twins, child custody, the decision about a minor who belongs to the Jehovah Witnesses receiving a blood transfusion to save his life.

This is fine British film making.

Emma Thompson has frequently shown a flair for comedy, portraying, for instance, Nanny Mc Phee. However, she won her Oscar for her performance as Margaret Schlegel, a serious character, in the adaptation of E.M. Forster’s Howard’s End. Her portrayal of Fiona Maye is Emma Thompson at her very serious best.

Non-British? audiences may be immediately struck by the quaintness of how Judge Maye is addressed in court. We take for granted “My Lord� but it is something of a shock to hear a judge frequently addressed as “Milady�. In court, Milady is well briefed, dismisses superfluous speeches by prosecutors or defence lawyers, is brisk in her moving through the evidence and explaining her judgements. She is well respected.

Because the drama is so well-written, there is no trouble in seeing Fiona Maye as a thinking person. She is clear, reasonable, principled and logical.

However, the drama in this film extends to the judge’s home life. She has been married for several decades to Jack, an academic (Stanley Tucci) but has failed to recognise that her almost complete commitment to her work, bringing it home to prepare briefs, working into the late hours of the night, has stranded her husband emotionally. Jack shocks Fiona by suggesting that he have an affair. She is so disturbed, her emotions unable to help her to a response, that she goes into silence, refusal to discuss the situation.

The point is made that the judge is so comfortable in her thinking, reinforced by her dedicated work ethic, not only has she neglected her feelings, she seems to be quite unaware of them.

However, this home crisis does affect her in an important case concerning the blood transfusion. A 17-year-old, Adam (Fionn Whitehead) has terminal leukaemia. His parents are strict Jehovah Witnesses – and the film shows some flashbacks to Witness meetings, scriptural grounds for the ban on blood transfusions, seen as a contamination of life which is found in the blood. A preacher is very strict, quoting Genesis, Leviticus, Acts, to indicate that God has prohibited transfusions.

Audiences will be familiar with these biblical stances and will have formed opinions on the validity well before coming into the cinema. In court, hospital representatives make a case for the transfusion. The father, played by Ben Chaplin, a reformed alcoholic who has found some salvation for himself and his wife in the community of the Witnesses, takes a stand against the transfusion.

In what seems a sudden departure from her well-organised research and decision-making, the judge decides to visit Adam in hospital. She has no children herself. Perhaps it is the shock of her husband’s declaration that has touched her innermost feelings and urges her not only to talk with the boy, discuss the issues, his religious beliefs, but talk to him about a guitar, listening to him sing song based on a poem by Yeats. Then, briskly, she is back to court, delivering her verdict, basing it on the law in the best interests of the child, that Adam have the transfusion (which is actually visualised for the audience).

What triggers the judge’s impulse to go to the hospital? We can see an assertion of feeling in her dealings with Adam. She does not. But it begins to surface.

The consequences of her husband’s declaration and her visit to Adam emerge gradually (and reluctantly) as well as deeper repercussions in her emotional life, a life which she has relegated to the peripheries of her work and her marriage.

The strength of this unconscious/conscious assertion of feeling is dramatized powerfully in its effect on Adam, quite profound, his emotional response to her visit, the singing, the poetry of Yeats, his finding in her a potential mother-figure – and his emotional demands on her, personally, and her need for a professional response.

The drama provides the judge with an emotional confrontation with Adam, her awareness of professional behaviour and the subjective demands on her from Adam – leading to uncharacteristic behaviour, losing her control at a party and hurrying to Adam’s hospital bedside again. But this is the catalyst for her being able to speak to Jack, to acknowledge the distance between them, to reconcile with mutual understanding.

The film is based on a novel by Ian Mc Ewan (Atonement, On Chesil Beach). The novelist himself has written the screenplay.

For an audience which likes serious drama, well-written, and intelligently articulate use of language, a probing of the relationship between mind and heart, and fine performances, The Children Act is well recommended.

1. The title, the law, courts, cases, judgements, administration? Objectivity versus personal?

2. The London settings, homes, the courts, hospitals? Newcastle and the hotel? The musical score? The songs for Yeats’ poems?

3. The focus on Fiona Maye, her role as a judge, the title, being called Milady in court? Her role in the Childrens’ Court, authority, experience, the court sequences?

4. Nigel, his assistance? Attention to detail, loyalty?

5. The judge’s personal story, her marriage to Jack, the long marriage, her devotion to her work, the distance between the couple? His telling her that he wanted to have an affair?

6. The central issue of blood transfusions, responsibilities and decisions, the parents, the son under 18, the legal aspects, the moral aspects? The beliefs of the Jehovah Witnesses?

7. The portrait of Fiona as a judge, the complete objectivity in the court, brisk in manner, doing her homework, answering with clarity, having information at hand, her manner, moving cases along? The respect given?

8. Fiona as a woman, the long marriage, her being so busy, her love for Jack, yet neglecting him, the sexual neglect, her expressing little emotional warmth? The flashbacks to when they first met, happy couple, the gift of the piano? Her not realising the coldness between them? Jack asking her about the affair, her knowing the girl, her reaction, closing down, refusing to talk with Jack? Yet emotionally quite upset? The phone call, spilling things on the table in the office? Ousting him? His return after two days and her reaction?

9. The case of the twins, the parents in court, the clarifications, one child to live, the other to die, for the two to die? The decision about the children? The reaction of the media? Hostility, the headlines? And having to cope, leave by the back door?

10. The subsequent cases, presented briefly? Her clarity, her being demanding?

11. Adam, his parents and their being Jehovah Witnesses, the flashbacks to the meetings, the encouragement, the preacher, the talk about blood and life in the blood, the forbidding of transfusions? The father and his drinking problem, conversion? The community support? The issues of contamination, the quotes from Genesis and other texts? God forbidding transfusions? The parents emotional, in court, the touch of the stoic? Adam, his age, in hospital, the leukemia, the dangers? His not being able to give personal consent? The clarity of the testimony given by the doctor in court? The other members of the hospital staff?

12. Fiona her decision to visit Adam in hospital, her motivations? The emotion? The issue of her not having any children? Talking with him, efficiency, the members of the staff, her being clear, Adam and his beliefs, her urging him to life, the discussions about the guitar, his grandfather’s gift, his playing, her singing the Yeat’s song? The effect on him? The effect on her, the negative reactions of the staff watching? Her brisk summary and leaving?

13. In court, the decision, for the good of the child? The visuals of the blood transfusion?

14. Adam, recovering, following the owner, explaining his reasons, his questions to her, her professional response? His giving her the poems and documents? Her telling him not to see her again?

15. Her going north, Nigel and the arrangements, on the train, reading and documents? Adam’s arrival, the hotel, his appeal, his questions, enthusiasm, his love for Fiona, wanting to be with Fiona and Jack? Her ordering him to go, the taxi? His kissing her on the lips?

16. The return, her silence as regards Jack, the preparing for the party, going out, the playing the piano, Michael and the practice for his song, the performance, her suddenly singing Yeats’ poem, emotional collapse, leaving? Visiting Adam in hospital, his saying death was his choice, his death? The effect on her?

17. Returning home, wet, explaining the situation to Jack, the future between them? The visit to the cemetery? And their walking away together?