THE GIRL IN THE SPIDER'S WEB

UK/Germany//Sweden, 2018, 117 minutes, Colour.
Claire Foy, Sylvia Hoeks, Lakeith Stanfield, Stephen Merchant, Cameron Britton, Vicky Krieps, Sverrir Gudnason, Claes Bang, Christopher Convery.
Directed by Fede Alvarez.


From Elizabeth to Lisbeth. Claire Foy who portrayed Her Majesty in the series, The Crown, comes to the well-known Lisbeth Salander (via such films as Breathe and First Man, as Neil Armstrong’s wife).

Millions read Stieg Larsson’s Millennium trilogy. Millions saw the Swedish film trilogy. Unfortunately, the box office returns for the American version of The Girl in the Dragon Tattoo, with Rooney Mara, was not as financially successful as hoped and so there were no more American versions of the trilogy.

And Stieg Larsson died.

David Lagerkrantz has taken up the tradition and this film is based on his first Millennium novel. Readers who know the novel say that the film is substantially different. However, as the credits say, “based on characters created by Stieg Larsson�

So, once again, The Girl, Lisbeth Salander, the fierce righter of wrongs, black clothes, tattooed, piercings, taciturn, partnering women lovers, ultra-expert on technology, the Internet, hacking, is back. Noomi Rapace play Lisbeth Salander three times, a threatening figure, not engaging in any likeable way. Rooney Mara was more attractive even though ruthless. Claire Foy is also ruthless but not always all-conquering, suffering, a touch waif-like in her appearance, even tearful at the end.

The prologue to the film takes us back to Lisbeth’s origins, her father who later became involved in international intrigue, her blonde sister, Camilla, the children playing a game of chess, the father, a womaniser, summoning Camilla to his bedroom, Lisbeth opting out, falling backwards from a balcony and escaping through the snow. A quick establishing of her character. Then, suddenly, much older, she is threatening a businessman brutalising his wife, hanging him up by his feet, using her taser, rearranging his bank account, especially to benefit his wife.

So, we have been put back in the vein. The main part of the plot is technologically focused, an expert (Stephen Merchant) has given his files about world sites for nuclear warheads to the Americans but commissions Lisbeth to get them back. She does, but it is immediately stolen from her by a gang of thugs, led by The Spider. Her friend, writer Michael Blomqvist (Sverrir Gunadson from Iceland) comes back to work, his magazine taken over, but friends urging him to write. He does some investigations into The Spider gang.

A lot of action, including some car chases, some brutal killings, the scientist’s autistic son being held to ransom, an American IT expert (Lakeith Stanfield) is after the missing file, is fobbed off by Swedish authorities, explores on his own initiative, teaming up with Lisbeth and her nerdish expert.

Perhaps this film could be more likened to a James Bond action rather than to a complex Stieg Larsson thriller, a lot of weaponry, a lot of technology, and the audience hoping, perhaps, that this is all very far-fetched.

But, there is also the personal story, going back to that chess game with the little girls, Lisbeth sister’s choice of her father – and deadly consequences.

The film ends in a burning conflagration and Lisbeth riding off on her motorbike – to (if the box office is financially successful) another episode attaching


1. The popularity of the novels? The films? The world of Lisbeth Salander?

2. The new writer, the continuity, audience familiarity with the characters and mood?

3. The European perspective on sensibility? The Swedish settings?

4. Stockholm, the city, the city becoming a character? The forests outside? The mountains and the highways? The musical score?

5. Lisbeth as a character, the prologue and the chess game with her sister, winning, seeing the tattooed woman with her father, the father summoning Camilla, Lisbeth and her resentment towards her father, her sister’s choice, falling from the balcony, escaping through the snow? Leaving her sister with her father? The abuse?

6. The introduction to Michael Blomqvist, the past ownership of Millennium, the new owner, his being urged to write? Lisbeth contacting him? The image of the spider tattoo, his investigations, going to the tattooist, getting the information, the warnings?

7. The international situation, Balder and his files, the sites of the nuclear weapons? Giving the file to the United States? Changing his mind, asking Lisbeth to recover it, her success, but it immediately being stolen by The Spider and the thugs?

8. The background of Salander, international dealings, bad reputation, considered a psychopath? Camilla working with her father, considered also psychopathic? Her dressing in red? The membership of The Spider Gang, the leader, his mask, violence and sinister?

9. The technological background, Lisbeth and her skills, hacking? Surveillance? The files, encoded, passwords and questions? The scientists, his being captured, with his son? The autistic son and his mathematical skills? The murder of his father?

10. The United States, Needham, the alert when the file was being stolen? His being able to pinpoint Stockholm? His deciding to visit, the authorities and their refusal to acknowledge his presence, the warnings, his investigations, making the links with Lisbeth and with her expert in his studio?

11. The background to Lisbeth, her sexual relationships? Seeing her action with the abusive husband, his brutality, the battered wife, trapping him, his hanging, the taser? Her being a righter of wrongs? A reputation?

12. The Spider, the attack, the car, pursuit crashes? Lisbeth on the bridge, raising the bridge, the confrontation and escape?Seeing Camilla in red?

13. August, his being taken by the gang, his father, his father being shot?

14. August, the information, playing chess with Lisbeth, his skills, revealing the mathematical answers to the questions? The code?

15. Lisbeth wanting Needham to take August back to San Francisco? The intervention of the authorities? Needham at the airport, passport control, the official bringing the bag, the phone? The confrontation with the Lisbeth, his choice? Going to headquarters, meeting the geeky expert?

16. The buildup to the confrontation between Camilla and Lisbeth, seeing her in red on the bridge? Her role with The Spider? The government official and betrayal, death?

17. Needham and the expert, the technology, setting up the gun, the targets, focusing on them, shooting? The leader and the escape in the car, the crash? Camilla on foot, pursued by Lisbeth? Lisbeth being tied up, suffocated, getting free?

18. The confrontation between the two sisters, the talking about their father, Camilla feeling abandoned by Lisbeth, Lisbeth not rescuing her? Lisbeth making the point about choices? Camilla killing herself?

19. The rescue of the boy, return to his mother? Needham discovering the file had been raised? Lisbeth going to the house, setting it alight, the conflagration? On her motorbike riding away?

THE DEFENSE RESTS

US, 1934, 70 minutes, Black-and-white.
Jack Holt, Jean Arthur, Nat Pendleton, Arthur Hohl, Raymond Walburn, Harold Huber, Raymond Hatton, Ward Bond.
Directed by Lambert Hillyer.

This is quite an entertaining brief drama from the early 1930s, the focus on the defence lawyer who is amoral, works on the principle of defending the criminal for justice, enjoys publicity in the press. He is played by Jack Holt. Nat Pendleton, in an early role, does his usual shtick. Quite a number of American character actors in the supporting cast.

Jean Arthur had been performing in silent films and made an impression for over 20 years in talking films, from the 1930s to her performance in Shane, 1953. She is a law student, with an infatuation with the lawyer, determined to do the right thing, pursuing investigations, challenging the lawyer who has to face himself when the mother of an abducted child, with him defending the abductor, kills herself in his office.

Well written by expert Jo Swirling, quite prolific screenwriter of the period.

1. An entertaining mix of courtroom drama, crime, investigations?

2. The American setting of the period, the courts, prosecution and candidacy for DA, defence lawyers and their skills, the range of criminals? The different trials? The legal offices? The graduation at the University and the speech? Thugs and their offices? The musical score?

3. The title, the focus on Matt Mitchell, skill at law, wanting publicity, relationship with the press? Relationship with criminals? Age, personality? Congratulations from criminals getting off? His speech of the graduation, provocative, getting press notice? The murder of the gangster, the girl coming in, her story, preparing her defence, getting her consent? And the issue of the abducted child, its death? Pressure from the gang? Rocky as his assistant – and the wisecracks?

4. Joan, graduation, idealist, the effect of the speech, going to meet Matt, in the office, offering to work, her plain speaking? And yet her dismay at his amoral stances? Investigations, the interview with the mother of the abducted child? Getting documentation from the wife of the murdered man, the IOUs, getting the gun from the harbour? Building up pressure on Matt?

5. The mother of the abducted boy, Matt and his defence of the criminal, preparing him, in the court? The mother, coming into Matt’s office, challenging him, killing herself? The consequences?

6. The threats from the thug boss, sending the killers?

7. Matt, his reaction to the death of the woman, the pressure from Joan? His shrewdness in finding a solution, demanding more money from the accused, getting the marked notes, verifying that they were part of the ransom? Going to the prosecutor, the deal?

8. Joan, her devotion, integrity, love for Matt – and the possibility for changing him?

THEY MADE ME A FUGITIVE

UK, 1947, 100 minutes, Black-and-white.
Sally Gray, Trevor Howard, Griffith Jones, Rene Ray, Mary Merrall, Charles Farrell, Michael Brennan, Jack Mc Naughton, Eve Ashley, Maurice Denham, Vida Hope.
Directed by Cavalcanti.

A post-war British film, a British story about men returning from war action, bored, wanting something to do, becoming involved in criminal activity. It is also a story of the black market, the violence of thugs, police investigations.

The film was directed by Brazilian director, Alberto Cavalcanti who came to Britain and made a number of striking films including Went the Day Well, Nicholas Nickleby, and the ventriloquist sequence, something of a classic, from Dead of Night. He returned to Brazil but had to leave because of his leftist views and subsequently worked in Paris.

Trevor Howard plays the man who is bored and takes up with black market criminals, discovering that they were dealing in drugs, refusing to participate, is framed from murder and goes to prison. Eventually, he escapes, is helped by a woman who hates her husband and urges him to kill her husband and, after he refuses, she kills him herself. He is blamed.

Sally Gray is the girlfriend of the chief criminal, Griffith Jones, but is put aside because of Howard’s former girlfriend. She visits Howard in prison, offers to help. With his escape, he seeks her out, she suspicious but then helping him. There are complications with the police using him as bait to trap the main criminal, a fight on a roof with huge letters RIP ominously behind the fight, each of the characters gripping the letters to prevent falling.

Some have commented linking this film to The Third Man – and, there is uncertainty and the ending, and, in fact, Sally Gray walking into the distance by herself, like Alida Valli in The Third Man.

1. A post-war British thriller? The black market, gangsters, crime and violence, police investigations?

2. The work of the director, Brazil, his work in the UK? His sensibilities?

3. Black-and-white photography, creating the mood of gangster London, prisons? The musical score?

4. The opening, the funeral parlour, the coffin, the police, the criminals and the black market and smuggling? Narcy as the boss, the significance of his name? Lording it over the others? Local thugs, muscle, drivers? The presence of Aggie, her sardonic comments? The discussion about bringing Clem Morgan into the group?

5. The restaurant, Clem, his girlfriend, Ellen? Narcy and the proposal? Drinking? Tossing the coin? Clem becoming involved, carrying the coffins, the smuggled goods? Discovering the drugs, his taking a stand, bowing out? His girlfriend not wanting to leave? His promise to do the last job? The set-up, the alarm, driving, knocking down the policeman, Narcy and the driver escaping, Clem arrested? Prison?

6. Sally, Narcy’s girl, visiting Clem in prison, his taciturn and suspicious response? His motivations, revenge on Narcy, getting the driver to recant? His escape?

7. Clem Is a fugitive, through the woods, shot, Sally later removing the bullets, the farm, getting the clothes, going to the house, the encounter with the wife, the bath and the meal, her anger with her husband, the gun, wanting Clem to kill her husband? Her doing it? Clem being blamed?

8. The pursuit, Sally at the theatre, the performance, Cora and her concern about the driver? Clem and his going to Sally’s house?

9. Narcy, the gang, wanting to get the driver, Cora taking him away, bringing in Cora, getting his location from her? Her sense of betrayal?

10. Sally, Narcy at the theatre, his bashing her? At home, with Clem, helping, their talk?

11. The police, contacting Clem, putting out the information about his arrest, then putting out the information for him as a bait for Narcy to attack?

12. The taking of Sally, questioning, with the group? Narcy and his going out to get Clem?

13. The pursuit, the fight, on the rooftop, the building with RIP on top, Narcy leaping but overbalancing and falling? Clem hanging on, the police rescue?

14. Narcy, dying, refusing to help Clem or Sally? Malicious? The others being too afraid to confess?

15. Clem taken away, the police saying they would assess the evidence? Sally saying she would wait, walking away?

WILDLIFE

US, 2018, 104 minutes, Colour.
Cary Mulligan, Jake Gyllenhaal, Ed Oxenbould, Bill Camp.
Directed by Paul Dano.


Wildlife, as a title, does not communicate the mood and meaning of this impressive, rather small-scale, drama. The title comes from a novel of 1990 by Pulitzer Prize-winning author, Richard Ford. While the novel was published in 1990, the setting for walk and film is 1960, outback Montana.

This is a story of a family, beginning very cheerfully, father and son, Jerry (a sympathetic Jake Gyllenhaal, even when he is exasperating), Jenny (a powerful performance by Cary Mulligan) and son, Joe (Australian Ben Oxenbould through whose eyes we see the action). Jerry and Joe pass and kick the football, Jenny prepares the meal, Jerry goes off to work at a golf club, Joe going to help him.

Jerry is fired. To his surprise and dismay, the reason given is the that he is too friendly with the players at the club. He thinks about getting a job, mopes around, sits in his car, stands on his pride when the club offers him his job back. Jerry is stuck in that American (universal) image of what it is to be a man, stand his ground, and his living, be reliable. To Jenny’s surprise and upset, and to audience surprise, he volunteers to go out into the mountains to fight the fires whose smoke the audience has seen hovering in the background.

Jerry does not think there will be a crisis. However, Jenny is quite upset, his action and her challenging him about it beginning to undermine the years together, reminding her of the vitality she had when she was young. Joe, who doesn’t say much but whose character is communicated most effectively by Ben Oxenbould’s body language, facial expressions (and lack of them), alert eyes, does not want his father to leave. He has told his father that he is no good at football. However, he does get a job at the photo studio in the town and becomes dependable and expert. He also befriends a young girl, a student from school.

Joe then has to watch the deterioration of his mother, the positive about her getting a job coaching swimming, the negative about her pretending to get a job at a car sales, benefiting by her coaching the owner, an older man his wife has left him, in swimming. Audience tension will be aggravated by what Jenny says and does, dressing up glamorously, lying to Joe, taking him to dinner at the house of the businessman – and the consequences. Enormous pressure on a 14-year-old boy who loves his mother and his father.

Jerry returns from the fires expecting everything to be as it was. It isn’t, provoking Jerry to act irresponsibly. Where can the drama go? Can the parents rediscover their love? What can Joe do?
The ending is left open to the audience, their understanding and appreciating of each of the characters. However, there is a very fine symbol for the end of the film, not closure of the story – it involves Joe at his work at the photographers, a photo.

Ben Oxenbould and director Paul Dano resemble each other physically. Dano has often performed in melancholy roles (Little Miss Sunshine, Pierre in War and Peace) and brings a sense of melancholy to this screenplay which is written with his partner, Zoe Kazan. They had previously co-written another telling small drama, Ruby Sparks.


1. The title, the tone?

2. The writer, the strong cast?

3. A small American film, independent? Recreating 1960? Montana, the town, homes, the countryside, the fires in the mountains, the seasons? The musical score?

4. A film about the American family, the family unit, a strong past, challenging situations, change? Pride, love? Leading to the deterioration?

5. The action seen from the perspective of Joe? Audience empathy with him? Sharing his observing? His age, love for his parents, puzzled about what was going on, his feelings, coping? The conflict in affection? The challenge from his mother’s behaviour? His father’s action?

6. The opening, playing football, father and son, mother, cooking the meal, happiness and the home?

7. The portrait of Jerry, moving to Montana, playing football with his son, his job at the golf course, pleasant, judged too friendly with the clients? Fired? His resentment, turning down menial jobs, sitting in the car, moody? Being offered his job back, too proud to go back? The situation with the fires, looking at the men, being hired, his decision to go? The farewell?

8. Jenny, in herself, the years of the marriage, memories of her past and vitality, the moves, trying to settle in Montana? The impact of Jerry’s decision, attacking him? Interview for the job, pleading, becoming the swimming coach and enjoying it, Miller as one of her students? The issue of the dealership, her lying about her working there and Joe going and finding her not present? The dressing up, the invitation to the dinner, Joe accompanying her, her drinking, Joe invited to drink? The ambiguous reactions, the decision to leave, going back into the house, the kiss? The relationship with Miller, his absent wife, his wealth? In the car with Joe, going home and Joe driving? Joe glimpsing Miller in the house and the affair with Jenny?

9. Jerry, his absence, the phone calls, Jenny driving Joe into the mountains, the site of the fires, the images of fire, resentment towards Jerry?

10. Joe, football, not being picked for the team, not liking football? The girl, friendship, sharing? Getting the job in the photo studio, persevering, his achievement? More responsibilities? Reaction to Miller, upset, talking with his mother?

11. Jerry’s return, the effect, his finding out the truth, his anger, confronting Miller and his violence? Joe upset? Miller withdrawing the charges?

12. Jenny, the decision, to take an apartment, going back home to Oregon?

13. Joe, dealing with situation, staying with his father? His eagerness for his mother’s visit? Her arrival, taking them to the photo studio, setting up the chairs, the final image with the family sitting in the photo together? What future?

14. The small film, but insightful, empathetic?

BEHIND THE HEADLINES

UK, 1956, 65 minutes, Black-and-white.
Paul Carpenter, Adrienne Corri, Alfie Bass, Trevor Reid, Hazel Court.
Directed by Charles Saunders.

This is a small-budget film from the mid-1950s, a supporting feature from the UK.

The film opens with a glamorous platinum blonde (perhaps the pervasive influence of Marilyn Monroe at the time) who is murdered by the man she is blackmailing.

The film shows that behind the headlines there is a lot of police work, often having many leads more than the journalists who are the central focus of the film. Paul Carpenter portrays a Canadian who has his own private agency. Adrienne Corri works for newspaper. Alfie Bass is a photographer. Hazel Court works in the office.

The film develops the personalities, the relationships, the connections with the police. However, the journalists do interviews, discover clues, follow them up, run into danger from the murderer.

The twists are a touch complex but, ultimately, both journalists and police solve the case.

BEHIND THE HEADLINES

UK, 1956, 65 minutes, Black-and-white.
Paul Carpenter, Adrienne Corri, Alfie Bass, Trevor Reid, Hazel Court.
Directed by Charles Saunders.

This is a small-budget film from the mid-1950s, a supporting feature from the UK.

The film opens with a glamorous platinum blonde (perhaps the pervasive influence of Marilyn Monroe at the time) who is murdered by the man she is blackmailing.

The film shows that behind the headlines there is a lot of police work, often having many leads more than the journalists who are the central focus of the film. Paul Carpenter portrays a Canadian who has his own private agency. Adrienne Corri works for newspaper. Alfie Bass is a photographer. Hazel Court works in the office.

The film develops the personalities, the relationships, the connections with the police. However, the journalists do interviews, discover clues, follow them up, run into danger from the murderer.

The twists are a touch complex but, ultimately, both journalists and police solve the case.

FAHRENHEIT 11/9

US, 2018, 128 minutes, Colour.
Directed by Michael Moore.

At last another probing of US society by Michael Moore. There he is, a strikingly lumbering presence, interviewing a range of people, travelling all over the US, speculating on the past, pessimistic about the present – and opening up the future for the audience to ponder. His previous documentary was on war aggression, Where to Invade Next (2015).

After he won an Oscar for his expose of American violence and love of guns, Bowling for Columbine (2002), he looked at the US pre-and post the attack on the Twin Towers, playing on the title of Ray Bradbury’s science-fiction thriller about fires and conflagrations, Fahrenheit 9/11. Fortunately for him and for the title of this look at the US, the announcement for Donald Trump’s attaining of the American presidency was in the early hours of 11 November, 2016. So, Fahrenheit 11/9.

Michael Moore has many admirers, and many detractors. A sentence that has been used for many of his films is: if only 50% of what he presents is accurate and true, then that is most alarming.

We are taken back to the election days of 2016, the campaigning of both Trump and Hillary Clinton, the response of their admirers, the excited atmosphere and expectations, crowds to support Hillary Clinton, a small group assembling for Trump, the changes in the figures coming in, triumph for Trump, tears for Clinton supporters.

While there is a great deal about Trump, his past, his real estate deals, his wealth, his television career, personal details (and some very creepy sequences with his daughter and the way he refers to her with sexual overtones), there is a great deal more.

Michael Moore comes from Flint, Michigan, and made his first documentary, Roger and Me (1989) about the motor industry in Flint and the collapse of the town. There is a sequence where Donald Trump says he liked Roger and Me (and a sequence where he is interviewed with Michael Moore on the Roseanne Barr show). He has often returned to Flint but this time he has quite a harrowing story, an expose of the governor, a Republican businessman, who developed a scheme to profit by water coming into Flint, pure water from Lake Huron by a pipe system but the governor approving an alternate pipe and Flint being dependent on the chemically dangerous, lead-filled, Flint River. And lots of doubletalk from politicians and PR representatives.

This is an extended story, Moore trying to interview everyone concerned, footage from 2012 on, the inhabitants of Flint, the economically poor, many African-Americans?, with deteriorating health, especially the children. At one stage, there is excitement in the town when President Obama decides to visit – which turns out to be a PR disaster when he has not appreciated the problems, people’s reactions, and he does a stunt in offering to drink the water (but the glass touches only his lips). Moore is not 100% supportive of Obama does some explaining that previous administrations, from President Clinton and deregulation of banks, through the Bush administration, paved the way for social situations in the US and the coming of Trump.

There is also a story from West Virginia, another Republican governor, strictures on the teachers in the public schools, the rebellion, days of striking and persistence until their winning their case.

Also included is the story of the students after the shooting in the high school at Parkland, Florida, the students getting together, forming office and a committee, going political, using social media, indicating the aspirations of young Americans, issues of and control.

And all throughout there are many interviews on many topics. There are many visits to American communities. There are many statistics. And, throughout, Moore’s often comic, often ironic commentary.

Towards the end, there is extensive use of footage of Hitler and the Nazis, Moore pointing out the similarities between the 1930s, popularism, the characteristics of dictatorship, Hitler throwing out slogans absorbed by the people… And the Trump parallels, especially his throwing out of slogans and ideas, popular bonding with his followers, their absorbing his slogans and believing them.

The film was released just before the mid-term elections for Senate and House of Representatives in 2018. How long before a further episode from Trump’s America?

1. Michael Moore, his career, stirrer, commentator? Audience expectations of his films? Politics, social comment, humour, satiric attack? His perspectives on the US?

2. His career, reputation, success, his Oscar? Themes of Columbine, 9/11, capitalism, health systems? His view that the Bush administration and the Obama administration paved the way for the Trump election?

3. His style, the variety of locations, the range of the United States? The interviews, the people interviewed, the various clips, the portrait of Trump, collage of images and their effect? Musical score?

4. The Trump focus, Trump and his early career, business, personality, amoral in his approach to women, television, rivalries, the idea of being president, the surprise, his campaign, the rallies, the criticisms of Hillary Clinton?

5. Audiences, the response to Trump, those for, those against?

6. The prologue, the night before the election, election day, the aftermath? The rallies, the confidence of the Democrats, Hillary Clinton, the small group of Trump supporters? The statistics coming in, the change? Exhilaration and weeping?

7. Trump and the television interview with Michael Moore, on the Roseanne program? The clip? Moore not having had a meal with Trump, his inventing that?

8. The portrait of Trump, his appearance, mannerisms, exaggeration, money and business, television, The Apprentice, his wives? Narcissistic? The scenes with his daughter, the sexual innuendo?

9. The rallies, Michael Moore’s and others’ theories about bonding with people, throwing out ideas, jokes, planting the ideas, abolishing 2020 election…?

10. The overall impression of Trump, the long sequence of showing the Hitler images? The gauge for a despot?

11. The picture of the Republicans, mixed? How to deal with Trump?

12. The contrast with the Democrats, Obama and Hillary Clinton, the criticisms of Obama, his visit to Flint and the glass of water stand, the drones and the bombings, the banks interconnections? Paving the way for the reaction? The picture of Democrat pre-selection individuals and interviews?

13. The impact of the Flint story, Flint as the home of Michael Moore, his films from the past and Trump liking Roger and Me? The story Governor Snyder, the issue of the water, business, the alternate pipes, the lead in the Flint River, the pure water in Lake Huron? The children getting sick? The various voices and commentary? The response of the PR personnel? Over the years? General Motors getting pure water to wash the machinery? The implicit racism in the victims in Flint? Unable to move, the reputation of the town, people unable to sell the houses? Stuck? The visit of Obama, expectations, the drinking of the water, the negative reaction? Snyder and the people booing him? Yet his prevailing?

14. The story of the Parkland shooting, Florida, the students, the office of the young students, their plans, social media educating them, confronting prejudices, helping with candidate selection, the range of marches and the number of youth? The future?

15. The West Virginia story, the potential candidate and the discussions with Michael Moore, talking with the teachers, the Fitbits and the Governor, the decision to strike, the bus drivers, the ladies and the cafeterias? The leaders of the unions? Compromise? The teachers, the perseverance with the strike, over so many days? Its spreading to other states? Achievement?

16. The cumulative effect of the film, some surprises, some shocks, dismay and outrage? And the future for Donald Trump?

CHILDREN OF THE FALL

Israel, 2017, 111 minutes, Colour.
Noa Maiman, Aki Avni, Yafit Shalev, Danny Leshman, Tamara Klingon, Ronny Dotan, Michael Ironside, Yotam Ishay.
Directed by itain Gafney.

This is an unusual mixture of themes.

On the one hand, this is a story of an American young woman, a volunteer to a kibbutz in northern Israel in 1971. At the kibbutz, she meets a number of volunteers, from a variety of countries. The volunteers are partly welcomed by the staff, but partly under suspicion from the Israeli authorities and the military.

The first part of the film shows Rachel and her arrival at the kibbutz, meeting everyone else, discovering an American who lives on the property and seems gun happy, choosing work to be done, interacting with the head of the kibbutz and his assistant who arranges the work.

The film focuses on young people acting like young people – especially on the day of celebration of Yom Kippur when they are asked to be more restrained but, of course, they are not.

This leads to quite a transition in the genre of the film. First, a Russian girl who was spoken out against the racism of the Zionist Israelis, is murdered in the kitchen. Then there is a hooded figure using a range of implements to kill off the volunteers one after the other, finally confronting Rachel who gets some help from the American (Michael Ironside) but he too is killed.

Just as Rachel is about to be killed, bombs go off, the military go on active alert.

It is not a surprise to discover who the murderer is. And the motivation for the killings, the narrow Zionism, suspicious of outsiders, is condemned as violent fanaticism. Interesting the use of the slasher conventions for a dramatic prospective.

1. The perspective on Israel? The 1970s? The aftermath of the Six Days War? Life on the keyboards? Volunteers, Israelis and non-Israelis? Strong Zionist stances?

2. Northern Israel, the countryside, the roads, the keyboards, orchards and places of work, accommodation, eating, hall and assembly? The musical score? The songs?

3. The introduction to Rachel, on the road, from the US, the later nightmares and memories of her father, the flashbacks, her mother’s death, the staunch treatment by her father, his criticising her lack of respect? Her leaving? Hitchhiking, explanations about her background, Jewish father, non-Jewish mother? Her quest in Israel?

4. The role of the Kibbutz in Israeli culture? The work, communal life? The leaders, demands, rules, supervision, breaking rules?

5. The military, the guards, their attitude towards Rachel, towards women? The later behaviour as war broke out?

6. Introduction to the Kibbutz, the secretary, speaking Hebrew, the doctor and his examination, her demanding gloves? Yaron, his western hat, his comments, the welcome? In the light of his later behaviour, the rules, Yom Kippur, his reprimanding the volunteers? His assistant, her being in charge of work, allotting the work, Rachel and her working in the orchard?

7. The other members of the team, the volunteers, International, Jeff and his American brashness, Bobby and his age, songs, being picked on, the girls from Germany, Russia, Salina from Spain, sharing accommodation with Rachel? The telling their stories?

8. The outing, the encounter with Sam, the gun? Rachel and her responses, his respect? Her later going to his house, the explanation of why he was in Israel, his dead wife and her burial, Visa difficulties, tending the land, growing the marijuana? Smoking, talking? Rachel later taking refuge with him? His being killed with the pitchfork?

9. The behaviour, the talk, sexual encounters, work? Yom Kippur and their disregarding it, at the pool? Yaron and his rebukes?

10. The mysterious figure, the film turning into a slasher movie, the variety of deaths, grim, the Russian and her outburst against the authorities, defying them, accusing them of prejudice and racism? Her death in the kitchen? The other couples, the brutality? Rachel, with Bobby, his song, make up, death? Her being pursued, the dangers, going to Sam?

11. The outbreak of the war, the bombs, the attacker fleeing? Rachel and her encounter with Yaron, his threats, his disappointment in her, his strict Zionist principles, against intruders into the land? His associate as the killer?

12. Rachel, taking refuge, the doctor, the other soldiers, helping? With the gun against your Ron? The bombs?

13. The social comment about the Zionists and their fanaticism, even to killing, attitude towards outsiders, using the slasher movie style? The postscript with Bobby and his recovery and looking in the mirror?

HALLOWEEN

US, 2018, 106 minutes, Colour.
Jamie Lee Curtis, Judy Greer, Andi Matichak, Will Patton, Rhian Rees, Jefferson Hall, Toby Huss, Virginia Gardner, Dylan Arnold, Miles Robbins.
Directed by David Gordon Green.

Those old enough in 1978 to remember their first experience of Halloween will be wanting to see this climax to the story and to the profitable franchise over the decades. Those not old enough to remember, according to box office figures, certainly want to see this version.

The screenplay fills in the background of what happened back in 1978, the character of Michael Myers, the killing of his sister, the slashing murders, his mask. There is some use of the voice of actor Donald Pleasance from the original film and his analysis of the mind of Michael Myers. And, of course, there is Michael’s sister, Laurie, played in those days by a very young Jamie Lee Curtis who now plays not only a mother but a grandmother.

The original film was cowritten and directed by John Carpenter, leading him onto a successful career as a director, often exploring horror themes. Carpenter was also a musical composer and had a memorably evocative piano score and orchestrations for his original film. He has given his blessing to this production – and also contributes the musical score, drawing on his original themes.

So, audiences are ready for Michael Myers – and his potential demise.

There are quite a number of new characters after all these decades. There is Laurie’s daughter who we find was taken into care when she was young, Laurie having married twice and divorced twice, but authorities wary of her. The daughter, Karen (played by Judy Greer), now has a husband and a daughter of her own, Allyson (Andi Matichak), who, of course, will be crucial to the climax.

Two British journalists get permission to visit Michael Myers, interview the new doctor who is looking after him, going to the yard where he is confined to a square, and try to get some response from him – without success. They later go to interview Laurie – and, of course, they will encounter Michael Myers in much less salubrious situations!

Of all things, Myers is to be transferred to a new facility on Halloween. What could go wrong? Well, a bus crash and the prisoners escaping, all being recovered except Michael. His doctor was on board – and the later behaviour of the doctor wonders how much of the crash was his responsibility, his obsessive study of Michael, wanting to understand and feel what was going on in Michael’s strange and twisted psyche.

So, the setting is ready. The kids are in their costumes, out on trick or treat. Michael is on the loose and, in the slasher vain that the original Halloween fostered, there are a number of indiscriminate victims, Allyson’s boyfriend as well as his friend, Allyson’s babysitting friend and her boyfriend, several victims around the town, the pursuing police.

Which builds up to the anticipated climax, the siege in Laurie’s house with all its security devices, hiding place in the basement, the three women confronting Michael Myers and his death and the house destroyed in a conflagration.

An apocalyptic ending to the Halloween story.

1. The classic 1978? Its influence on horror and slasher conventions? 40 years later?

2. The story of Michael Myers – and needing a conclusion? Involving Laurie?

3. Audience expectations, Michael Myers and his behaviour in the 1970s, killing his sister, the effect on Laurie, the passing of the years, Laurie and her family, Michael in the institution? Audience is expecting a confrontation?

4. The scenes of Michael Myers in hospital, no communication, the past and the flashbacks to his killing of his sister? The voice of Dr Loomis and the explanation? The new doctor, his motivation, the British journalists, the interview, Jefferson watching Michael Myers standing, trying to provoke him? The issue of the transfer to another institution? At Halloween?

5. Laurie, after 40 years, the presence of Jamie Lee Curtis, the story of her marriages, divorces, her daughter taken into care? Her concerns as a grandmother? The house, rigged for security? The British coming to interview her, the fee, giving it to her granddaughter, ousting them?

6. The bus crash, the prisoners escaping, Michael Myers escaping? The police, the Roundup? Dr on the bus, his injuries, the realisation that he had engineered the crash, his study of Michael Myers, becoming obsessed, wanting to know what it was like to be a killer – identifying with him, his killing of the policeman? His own death?

7. Laurie, her daughter, granddaughter? Ray, the marriage, the family? Halloween, the parties?

8. The younger generation in the town, the children and trick or treat, the range of costumes, the Halloween behaviour, teenagers and the paying party and dense?

9. Michael Myers, the sinister presence, tall, his mask? The deaths, the slasher aspects of the film? The police, the British interviewers?

10. The granddaughter, relationships, boyfriend, the dance, the boyfriend and his kiss, the clash, running away, the pursuit, the young man’s approach? The deaths?

11. Virginia, babysitting, the little boy, her boyfriend coming? The terror in the house, the deaths?

12. The granddaughter, the spirit, knowing the truth, bond with her grandmother, the gift of the money? With her mother, father? In the house? Her fleeing after the death of the boys? David, his approach, her running, the fence?

13. The police, friendship with Laurie, the squad, the pursuit, the advice, the doctor, death?

14. Laurie, building up to confront Michael, her warnings to the family?

15. Michael coming to the house, the siege, refuge in the basement, the women, Ray’s death, in the cupboard?

16. The final confrontation, the cage and barriers in the house coming down, Laurie on the roof, the fall? The role of her daughter, granddaughter? Michael’s death, the burning of the house?

17. The end of a franchise and a Halloween era?

THE MAN WHO CHANGED HIS MIND

UK, 1936, 66 minutes, Black-and-white.
Boris Karloff, Anna Lee, John Loder, Frank Cellier, Donald Calthrop, Cecil Parker.
Directed by Robert Stevenson.

This science-fiction thriller is better than might have been expected. It takes up the theory and the mad doctor – with Boris Karloff doing this type of thing in The Man They Could Not Hang, Black Friday, Before I Hang. This time he is the scientist in the Frankenstein-like laboratory rather than the monster.

This is a British production, with Robert Stevenson as director, later to go to Hollywood with such films as Jane Eyre and, then, in the 1960s with 19 Disney films and television series including Mary Poppins. Anna Lee, the doctor who works with Karloff in this film, was his wife at this time. John Loder is the romantic hero and there is an interesting performance by Frank Cellier as a press baron whose brain is changed with a cynical invalid, so he is doing both performances. There is a small role also for Cecil Parker.

The film raises scientific issues, the press and its interest, experiments with monkeys, the hubris of the scientist wanting to tamper with the human brain – but, after the twists in the plot, a word of repentance from the scientist.

1. An entertaining variation on the mad doctor theme? The theory of changing brains in humans?

2. British production, the mid 1930s, Boris Karloff and his reputation?

3. The interest in science, the prevalence of mad doctors, operating on the human brain? Experiments with monkeys?

4. The opening operation, Claire Wyatt and her going to join Dr Laurience, friendship with Dr Gratton? Her relationship with Dick? Journalist? His persistence, proposal, wanting to accompany her, arriving at the town, at the window, falling? The establishing of Claire and her strong personality? Her eagerness to work with Dr Laurience, the taxi driver and his hesitation to go to the door, meeting Clayton, his cynicism?

5. Boris Karloff as Dr Laurience, his reputation, in general, criticisms, moving to England, his experiments, wanting Claire to work with him? Clayton and his presence, criticisms? The demonstration, the two monkeys, the changing of the thought content in the brains, the behaviour? But the up the possibility of doing it with humans?

6. Lord Haslewood, owning the paper, erratic behaviour? Promoting science, his Institute? Nick being his son? Dick and his article, Lord Haslewood reprimanding the staff for not featuring the article? His going down to visit Dr Laurience, promising him the facilities? The experiments, the advertising of the talk?

7. Everybody gathering for the talk, the critical doctors? Dr Laurience absent-minded? His speech, explanation of his experiments, the harsh reactions? Having to cancel the arrangement?

8. Dr Laurience, wanting vengeance, discussions with Clayton? The decision to do the experiment? Clayton in Lord Haslewood’s body? Lord Haslewood in Clayton’s body? Clayton’s body deteriorating, death? Leaving Clayton to be Lord Haslewood? His behaviour with the company, with the secretary in the past relationship, with his son? Clayton enjoying himself? The meeting with Dick, discovery about his own health?

9. Claire working out what was happening, her fears for Dick? Dick, interviewing Dr Laurience, the drugs, the experiment, Laurience in Dick’s body? Laurience killing Clayton, arranging it so that he would be arrested for murder but it would be Dick arrested?

10. Claire, to the rescue, the confrontation, the fight, Dr Gratton, the reverse operation? Dr Laurience and his words of regret? The happy ending?

11. The popularity of this kind of science-fiction in the 1930s, speculation, variation on Frankenstein themes?