BREAKAWAY

UK, 1956, 72 minutes, Black and white.
Tom Conway, Michael Balfour, Honor Blackman, Brian Worth, Bruce Seton, Freddie Mills, Alexander Gauge.
Directed by Henry Cass.

This is a brief film about industrial espionage during the 1950s. The film opens in pre-Berlin Wall Germany, a visit to the Russian sector of the city, an Englishman meeting an old professor who gives him a formula for metal resistance, necessary for development of aircraft for supersonic flights.

He is pursued by thugs, his fiancee abducted, he fleeing in a car and hiding out with a former boxer friend, now a bartender. The owner of the club where he works is actually interested in getting the formula and employs the thugs. He has also abducted the fiancee.

Duke Martin has been sitting next to the Englishman on the flight from Germany, sees him at the airport, is following in his car and comes across the accident, finding the fiancee’s purse. He is accompanied by his offsider, chauffeur, valet, Barney, played by Michael Balfour, a presence in many British films of the time, providing the lighter touch and contrasting with the suave Duke who is played by Tom Conway, some years after his stint as The Falcon.

Duke Martin is a private detective, picks up a lot of clues, goes to a rendezvous at the club where the is one was expected and encounters her sister, played by Honor Blackman, several years before she became Pussy Galore with James Bond but whose prominence was achieved in the television series of the early 1960s, The Avengers.

Also involved is an industrialist who is interested in the formula. The Englishman’s brother is also a scientist and interested in the formula. There are various fights, pursuits in an airport, the film that the Englishman took being developed (a cameo by Arthur Lowe), various disguises for the film, fights, a set up and the police arriving.

Tom Conway and Michael Balfour had played the same characters in another thriller, Barbados Quest/Murder on Approval (1955).

ANNA AND THE KING

US, 1999, 149 minutes, Colour.
Jodie Foster, Chow Yun Fat, Tom Shelton. Bai Lim.
Directed by Andy Tennant.

The story of an Anna Leonowens and the king of Siam has been very popular. It was told in the 1946 film, Anna and the King of Siam, with Irene Dunne and Rex Harrison. Then it was made more famous by the Rodgers and Hammerstein musical, the King and I, featuring Yul Brynner as the king and Deborah Kerr as Anna. There was an animated feature in the 1990s as well as this ambitious production, Anna and the King. Jodie Foster is both prim and strong as Anna. Chow Yun-Fat? makes an interesting king.

The production is quite long, almost 2 ½ hours. It is filmed in beautiful locations, mountains and valleys as well as the re--creation of Bangkok in the 19th century. This includes the poorer aspects of the city, the markets and the wharves. It also includes the affluence and beauty of the palace.

The film has more political background than other versions, especially the clashes with Burma, the rebellion of the military who want no westernisation of Siam, and the difficulties of dealing with the colonial powers, especially the British and their ambitions for trade.

The film has a number of local actors insignificant roles dramatising the Siamese military and politicians. There is also the story of Tuptim, relegated to the palace but in love with a young man outside, leading to their trial and execution. This is an experience of grief for Anna, and criticism of the king and his policies.

Tom Felton, soon to be a villain in the Harry Potter films, portrays Louis, Anna’s son. The film was directed by Andy Tennant, a director of entertainments like Fools Rush In, Ever After, Hitch, The Bounty Hunter.

1. A lavish presentation of the well-known story? The film of the 1940s, the popularity of The King and I?

2. The big budget, the location photography, the mountains and villages?

3. The re-creation of the city of Bangkok, the 19th century, the wharves, the markets, outside the palace, inside the palace, the lavish rooms, the throne room, the Temples, the classroom? Sets, décor, costumes? The musical score?

4. The cast and the international flavour?

5. Similarities to The King and I, the theme of dancing, Tuptim’s story, the march of the children? The differences from The King and I, the King, the political implications, the clashes with Burma, the role of the British and their colonial attitudes, trade, the armies, betrayal, the need for education, the king and his ambitions for the culture of Siam? The heritage for his son?

6. The son, his voiceover, his education, the role model of his father, the beneficiary of his father’s quest for Siam?

7. Scenes on the ship, Anna and Louis, the passage from India, the past, her being widowed, British, demanding? The arrival, no one going to meet them, going to the prime minister, her being called ‘sir’, standing in the presence of authorities? Conventions and protocol? Her meeting the king, going, her plain talk? Wanting the house outside the palace? The house and the contract? The King’s attitude? not acting?

8. Meeting the children, the wives, the concubines, the first wife and her friendship? The nature of the lessons, the detail, the effect on the children? The older son, his fight, his refusing to back down, the king not taking his side? The little girl, her illness, death, the grief of the king?

9. The military background, the generals, antagonism with the Burmese, the random assassinations? The military in the field, the general? His double-dealing? Disapproval for the westernizing of Siam? His presence at the banquet, discussions with the British, his attitude towards killings and the Burmese? The threats? The attack, the death of the generals, the poisoning? His ruthlessness? Moving on Bangkok, the king and his plan, removing the children, the build-up to the confrontation, the general and his shrewdness and assessing what the King would do, the meeting at the bridge, the explosives on the bridge? Calling the bluff? The bugle playing? The explosions, deaths? The taking of the general? The confrontation by the king?

10. The British, the attitudes, trade, at the banquet, the preparation for the banquet, lavish, the dancing, Anna with the king, the chatter, the British and testing the king, yet prepared to let him go? The visitor with trade, his drinking, speaking out of place, yet warning the authorities about the plans of the general? The British pragmatic, trade?

11. The prime minister, his advice, being surprised at what was achieved?

12. Louis, his life within the palace, with the other children, very British, with his mother, the bond between them?

13. The portrait of Anna, the widow, the British woman, shielding herself from her grief, the challenge by the king, with the children, the king knowing her?

14. The portrait of the king, the traditions, yet enlightened, wanting to improve the country, his family, his children, mellowed by Anna?

15. The film based on the diaries of Anna, a romanticized version of what happened, the role of Siam in Asia, it civilization, its traditions and heritage?

MISS ROBIN HOOD

UK, 1952, 76 minutes, Black and white.
Margaret Rutherford, Richard Hearne, James Robertson Justice, Michael Medwin, Eunice Jayson, Sidney James, Dora Bryan, Reg Varney.
Directed by John Guillermin.

Miss Robin Hood is a supporting feature from the early 1950s, a vehicle for Margaret Rutherford who had already emerged as a staple of British comedy, Blithe Spirit, Happiest Days of Our Lives, and Richard Hearne who was to have more success on television over 20 years with Mr Pastry. James Robertson Justice was also emerging as a significant presence as was South African, Sidney James, here as a taxi driver who knitted and Dora Bryan as a sympathetic barmaid. Michael Medwin is an awkward suitor.

The film is directed by John Guillermin, at the beginning of his career, small budget features which eventually led him to the United States, to big budget films like Shaft in Africa, King Kong as well as The Towering Inferno.

The film has some resonances with later decades, comment being made that comic strips are important because people didn’t read any more! There is an emphasis on stories and comic magazines which later became “Graphic Novels�. And, the fans of the comics are the equivalent of young people enthusiastic about communicating on social media.

Richard Hearne plays the writer of comics, especially Miss Robin Hood, which is very popular with youngsters. He literally dreams of the stories. He has a patient wife, two daughters, one who is courted by Michael Medwin, the other who is enthusiastic about the comics.

There are difficulties in publishing, the desire to be modern, introduce colour, eliminate the comics. However, Margaret Rutherford, sometimes over the top in her dottiness, is a woman who looks after children, supports their enthusiasm for Miss Robin Hood, visits the writer just as he has offered his resignation and involves him in a plot of her own, material for his comic strips. She wants to rob the safe of an industrialist, James Robertson Justice, who has a secret formula allegedly stolen from her family in the 19th century. She gets the number of the safe, opens it, takes the formula as well as a bag full of money.

The police pursue, there is a car crash, the police come to the home, the writer becoming more jittery hides the money in his cellar, the two plotters thinking that money was merely paper. They spend money on the children but eventually decide to put it back. They are caught, do a deal with the industrialist to get money from him and having the hold over him that they could sell the formula to a rival.

The children, becoming more like St Trinians, have a demonstration at the publishers, the owner not liking the substitute story about stealing a Salvador Dali painting, reinstating the writer – and happy ever after.

11 years later Margaret Rutherford would win an Oscar for her performance in The VIPs.

THE BOY WHO HAD EVERYTHING


Australia, 1983, 94 minutes, Colour.
Jason Connery, Diane Cilento, Laura Williams, Lewis Fitz- Gerald, Ian Gilmour, Nique Needles, Michael Gow.
Directed by Stephen Wallace.

This is an Australian film, set in Sydney, family and university setting. It came at the beginning of the 80s, after the renaissance of the Australian film industry and at a time when there was a proliferation of films made, some of them just to capitalise on financing.

This film is directed by Stephen Wallace who made the prison drama, Stir, the children’s fantasy, Playing Beatty Bow and the film version of plunge Blanche D’ Alpuget’s Turtle Beach.

The casting is interesting, Diane Cilento acting with a son, Jason Connery. Nique Needles won the Australian Film Institute award for Best Supporting Actor.

The film recreates the period of the 1960s, academic life, the students, their working together, extra-curricular activity, the influence of the staff.

However, the film is also a portrait of the mother and son, the mother and her place in society, the drinking, the role of the father, the expectations on the son, to be perfect and an achiever.

A film that is worth seeing in its recreation of its period but one which seems to have almost disappeared from view.

1. The impact of the film in its time? Considered underrated? Australian story, themes?

2. The work of the director, writing, directing, serious perspective on issues?

3. The Sydney locations, the city itself, the North Shore, the University, the 1960s, the period, costumes and decor? The background of Robert Menzies in power? Involvement in Vietnam in the 1960s? The musical score, the songs?

4. The credits, John and his boyhood, career, expectations of him?

5. The voice-over, the commentary, Cummerford and his relationship with John? Perspective, judgements, Comerford’s behaviour?

6. Jason Connery as John, the focus on him, his story, the title? The background of Jason Connery working with his mother, Diane Cilento? As a boy, expected to be perfect, success? Her mother, divorce, drinking, influence on her son? Love? At a distance? Sharing the bets, the rebuke? Affection? His father, drinking, the wedding? Reconciliation?

7. The character of his mother, her style, the touch of glamour, the drinking, careless behaviour, bets, anger? The treatment of her son?

8. John, going to the University, in Sydney, the atmosphere of the 60s, studies, the role of the lecturers and their influence? Subjects for study? John’s expectations?

9. The residence, the other students, their characters, attitudes towards John, criticisms, the significance of the hazing, the details, the attitudes of the students, John?

10. Cummerford, his character, behaviour, relationship with John?

11. The combination of university students, their attitudes in the 1960s, the staff?

12. The effect on John, damaging? The repercussions and consequences? With his mother, possibilities for the future, his own career?

LANDLINE

US, 2017, 97 minutes, Colour.
Jenny Slate, Jay Duplass, Abby Quinn, John Turturro, Edie Falco, Finn Witrock.
Directed by Gillian Robespierre.

The commentator pointed out that 1990s was the last time people could smoke inside – and it was the era before the constant use of mobile phones. This film recreates that 1990s in New York, a time of permissive behaviour and troubled attitudes.

The focus is on three sisters, adults, the tensions in their relationships, ups and downs, the relationships with men, fidelity and infidelity, the nature of temptation, testing, possibilities of forgiveness and reconciliation.

However, the main focus is on the parents, played by John Turturro and Edie Falco. The daughters discovered that their father is having an affair. This has unexpected repercussions on their outlook on commitment and fidelity. The father is reluctant to talk about his affair. The mother suffers and his bewildered.

The title is interesting in terms of phones and communication, the stability of landline, and this kind of talking as a means of understanding and reconciliation.

1. The title? Communication? Communication within the family?

2. New York City, the settings, homes and apartments, the countryside? Bars, restaurants, theatre? The musical score?

3. The setting in the 1990s? Behaviour, morals and mores? The frank dialogue and issues?

4. The picture of the family? The interactions between the parents? Two daughters? Bonds, experiences of alienation? Dana, the opening, the sexual encounter with Ben, engaged to him, her life and work, the encounter with Nate, the reaction, the affair? Away from home? Trying to sort out matters, discussions with friends and her sister? Her sexual drives and control? The clashes with her sister, going to the country house, the encounter with her sister and the boyfriend? Their bonding, the swimming pool, Dana being protective?

5. Ali, the younger daughter, with her boyfriend, drugs? The severity of her mother? The father being more obliging? Her relationship with her mother, the clash, moving away from home? Bonding with her sister? Their talking together? The mother, tough, the rules, her image of her husband, criticisms of him?

6. The father, his job in writing copy, at home, writing the play, the reading? Carla in the play? His relationship with her? The daughters realising the truth? Following him? Confronted by his wife, her knowledge, his confessing?

7. Dana, the restaurant, the birthday party? Her telling Ben the truth, his being hurt, a reconciliation, the future?

8. The final aspects of the film, the family gathering, inviting the father, the friendliness of the cook? An optimistic glance of the family together? The future?

ARTHUR MILLER: WRITER

US, 2017, 98 minutes, Colour.
Directed by Rebecca Miller.

Playwright Arthur Miller was directed by his daughter, the film director, Rebecca (wife of Daniel Day Lewis).

There is a great deal to be interested in with the biography and study of Arthur Miller. There is quite a range of talking heads including Tony Kushner and Mike Nichols, as well as his children. There is a great deal of home movie material to be incorporated into the film, from early years, from his first marriage to Mary, the Marilyn Monroe years, his marriage to Inga.

The film fills in the background of his parents and their migration to the United States, his father and his work, the nature of his parent’s marriage and relationship, the Jewish background. The film highlights his university work, the beginning of his writing, difficulties, succeeding, the emergence of such plays as All My Sons and then the dramatic impact of Death of a Salesman. This was the 1940s.

During the 1950s, there was his response to Mc Carthyism with The Crucibleand A View from the Bridge, .

The mid 1950s also saw his marriage to Marilyn Monroe, an interesting perspective on Marilyn herself, what she hoped from the marriage, what she hoped from Miller, her career, decline and fall, his writing The Misfits for her.

The film focuses on his third wife, Inga, her background, her professional skills with the camera, the bonding with Miller himself, the passing of the years.

Attention is given to his later plays including After the Fall and his continuing to write into the 21st century.

An arresting contribution to understanding the playwright and the background to his work, his work ethic, his understanding of theatre, his love for words.

1. Audience interest in Arthur Miller? American audiences? 20th-century audiences? Universal?

2. His reputation, in the theatre, the film versions of his plays, as a writer? His personal life?

3. Rebecca Miller, a tribute to her father, love, regard, the home movies over many decades, interviews with him, the past and the various periods of his life? Later? The visual and audio portrait?

4. The chronology of his life, a portrait and biography? 1925 -2015? Nine decades?

5. Audience knowledge of his work and life? Experiences in viewing Miller’s plays? The films? Admiration, like, dislike? Questions about Marilyn Monroe and the marriage?

6. The background, European Jews, coming to America, his father, as a boy, settling in New York, sewing, not able to read, yet his business sense, prospering at a young age, the 20th century in the 1920s? His wife, her education, her birth, the arranged marriage? The Wall Street collapse, her disappointment in her husband? The children?

7. Kermit, older, his life and memories? Joan, her memories? Their families?

8. Arthur Miller and his work as a labourer, in factories, saving up money to go to Michigan, moving out of Brooklyn? Mary, the relationship? His jobs, along with his study? His writing plays, prizes? Marriage? The transition to New York?

9. Mary, a portrait, in the film clips, her support, the nature of the relationship, the children, whether Miller was a satisfactory father or not, his own view? The separation?

10. The initial failure of his play on Broadway? Taking more time to write All My Sons? The influence of his experience of his father? Its success, awards? The move to Death of a Salesman? Acclaim? The discussions of its themes? American tragedy of the 1940s?

11. Kazan and his direction? The visualising of the play, the photos with Lee J. Cobb, Arthur Kennedy, Mildred Dunnock, Cameron Mitchell?

12. The interviews with Mike Nichols and his observation of Miller, his career, from Nichols own career? From Tony Kushner, the theatre perspective? Their admiration for Miller?

13. Miller and his work ethic, production, writing, his use of language, ordinary, yet able to create contemporary tragedy?

14. Marilyn Monroe, his meeting her of the film is set, the attraction, his urge to protect her, his keeping propriety? No mention of Joe Di Maggio? Marilyn as vulnerable in the mid-50s, her fame, his assessment of her, her self-image, sad woman? Her response to the media? Publicity? Miller helping, rescuing her, marrying her? Their life together, the sharing? The House Un- American activities? His reflections on their life together, the many sequences? The separation, writing The Misfits? Her performance, not arriving on time, days off, pills and rehabilitation?

15. Writing The Crucible, his perspective on the Mc Carthy era? The scenes of Mc Carthy interrogations? Robert Taylor, Elia Kazan, the decisions, his contempt for the house enquiry? Fined? Suspended sentence? His reflections on Fascism?

16. A View from the Bridge? The playback New York Italians? Family relationships? The comments on After The Fall, whether it is about Marilyn Monroe or not?

17. The interviews with Bob and Jane, Miller’s son and daughter, their life with their father, their mother? Bob and his working with his father, Producing The Crucible? The nature of the interviews on the image of their father?

18. Meeting Inga, her background, photographer, the history, the accent, active, married for 35 years? Her history in Europe, the travels? Her giving birth to Rebecca?

19. Miller’s career, the further plays, his continued writing, becoming older, going out of fashion? The glimpse of the play about Peter and Peter Falk’s presence?

20. Sequences at home, work, in the garden, woodwork, his reflections?

21. No mention of his grandchildren or of Daniel Day Lewis, his son-in-law, except for the clip from The Crucible?

22. His age, living in Connecticut, not going to the city, the outdoors, nature, his work?

23. The film as a tribute, his achievement, his talent, as a person?

THE DEVIL’S VIOLINIST

Germany/Italy, 2013, 122 minutes, Colour.
David Garrett, Jared Harris, Joely Richardson, Christian Mc Kay, Veronica Ferres, Helmut Berger, Olivia d'Abo.
Directed by Bernard Rose.

This is a portrait of the violinist, Niccolo Paganini. It is not a very flattering portrait. There had been much more sympathetic picture of the violinist, The Magic Bow, in the 1940s, with Stewart Granger.

This film was directed by Bernard Rose, an idiosyncratic director who worked at some time for Jim Henson, is interested in experimental techniques, has directed a wide range of films from horror to a version of Anna Karenina with Sophie Marceau, adaptations of Tolstoy, The Kreuzer Sonata, Ivans XTC, as well is supported of Beethoven, Immortal Beloved.

David Garrett plays Paganini, a self-absorbed virtuoso, a womaniser, an exploiter of situations and people. Jared Harris plays his impresario, with overtones of the devilish, Urbani. The screenplay focuses on negotiations for Paganini to play in England, the double dealings, greed and the desire for money, lies and not fulfilling promises or contracts. Christian Mc Kay plays a businessman in England who sells all that he has expecting to benefit by promoting Paganini’s concert, his wife desperate, his daughter having to play the maid and then objecting to Paganini and his advances.

The story has an intrinsic interest of musicians, concerts, contracts during the 1830s, as well as the London background, society, even the presence of the king at a performance.

An opportunity to hear some of Paganini’s music and violin performance but the lasting impression of the man himself is rather negative.

1. A portrait of Niccolo Paganini, not a biography?

2. The director, the eccentricities of his work and career, his film as a and a portrait of Beethovens?

3. The 1830s, costumes and decor, homes, theatres, the world of the aristocracy, London, the fog, the city in the streets, the wharf, the taverns, the clubs?

4. The prologue, Paganini and his father, playing, his father’s demands? These memories haunting him, feeling that he had to please his father?

5. Prominence in the theatre, the opera, his coming from the front of the curtains, the audience reactions, ignoring, mocking? His skills? Urbani in the audience, intensely gazing at him, the aftermath, visiting his room, paying the expenses at the hotel, his proposal to be his agent? His love for his son? Being a womaniser, drinking and drugs? Gambling, even selling the violin as security? His virtuoso style, performance in the tavern and the audience responding, strings breaking, playing on one string? Acclaim? The response of the press, their waiting for him, Ethel and her animosity, change of heart in the tavern?

6. Watson, the bluff Englishman, his wife and her operatic background, his daughter and training? His work at Covent Garden, conducting the orchestra? The entrepreneurial idea of bringing Paganini to London? Visiting the in the club, the proposal, acceptance? Sending the money, the invitation, Paganini’s refusal, Urbani and his decisions? Paganini gambling the money, his moods? The negotiations, Watson continuing contact? Sending more money? The delay, the pressure, the press at his house, Paganini finally arriving? Watson losing all his furniture and possessions from the house, his wife’s reaction? His daughter having to act as the maid? Paganini, the coach ride, not going to the hotel, boarding with Watson and his family, Charlotte serving him, her resentment, dislike of him, his sexual approach? The Italian food from the shop?

7. Urbani, his diabolical look, bearded haircut and curl? Entrepreneur, the Svengali power over Paganini? Decisions? Contract? Money?

8. Paganini in London, spurned by Charlotte, her defying him? His going to the tavern, her presence, his performance, Ethel and the sexual attraction?

9. Ethel, tough, at the wharf, demanding the beer, her antagonistic articles, at the tavern, in the coach, the interview? The resentment of Charlotte?

10. Charlotte, learning to sing, Elizabeth as a singer? Having to act as the maid, Urbani and the necklace to bribe her, spitting on the dinner, defying Paganini to his face, ordering him to leave? The effect on him? Playing well? The article in the paper, Paganini playing for Charlotte and her singing?

11. The crowds, the theatre, Paganini late, coming in the back entrance, dramatic, playing? The parallel with 20th-century popstars, the girls touching, screaming, panting? Is technique and the response? The spotlight, the curtain, Urbani as the devil coming behind him, the explosion? The king’s arrival, his virtuoso playing of the national anthem? People tossing their hats into the air? His kissing Charlotte, inviting her onto the stage, the aria? The crowds after him after the performance?

12. The background of the moral protest, Primrose, the women, their placards, their chat, Paganini and his immorality?

13. Urbani, further machinations, the deal with Primrose and the demonstrations, whisking Paganini away, sending Charlotte home, the prostitute coming in, Charlotte, her disillusionment? Paganini tricked, trying to explain?

14. His being taken to prison, the prisoners and their crushing his fingers? Charlotte in prison, her father coming to release her? Urbani and his explanations of his machinations, his serving the devil?

15. The escape from England, Charlotte and Paganini and the correspondence, Paganini seeing his son, the money and is building the casino in Paris, failure? His gruff behaviour?

16. Charlotte, going to America, the singing career, marrying?

17. Paganini dying, the priest coming to his bedside, anointing him, Paganini’s reaction? His experience of God, beauty?

18. The postscript information, Paganini being buried in sacred ground, his son’s appeal to the Pope, silence?

19. Paganini, his compositions, performance, his place in musical history?

LA LEY DES DESEOS/LAW OF DESIRE

Spain, 1987, 102 minutes, Colour.
Eusebio Poncelo, Carmen Maura, Antonio Banderas, Miguel Molina, Manuela Velasco, Bibiana Fernandez.
Directed by Pedro Almodovar.

This is a Pedro Almodovar film from the second half of the 1980s. During the first part of the 80s, he emerged as something of an enfant terrible in the Spanish film industry, bringing it to international consideration after the death of Franco in the 1970s.

Almodovar’s early films were provocative, satiric, targeting a wide range of subjects, including a strange community of nuns in Dark Habits. After Law of Desire, Almodovar would step onto the international stage with his Women on the Verge of a Nervous Breakdown, consolidating his reputation during the 1990s, beginning to win more and more international awards and even an Oscar for Talk to Her.

This film is highly melodramatic, highlighting Almodovar’s interest in gay themes. It features a homosexual director, infatuated with a young man, encountering another, a rabid fan (played by Antonio Banderas) who seems to be devoted but is quite dangerous. The director’s sibling is transgender woman (Carmen Maura) who gets caught up with the Antonio Banderas character.

Confrontations, family bickering and concerns, melodramatic and dangerous climaxes.

1. An Almodovar film? From his early period? The 1980s? Seen as an Enfant Terrible? The 1980s and his transition?

2. Madrid settings? Fostered by Almodovar? The city, filmmaking, the theatre, socials, the apartments, the coast of the beach, the lighthouse, atmosphere?

3. The bright colours, despite the dark themes? Songs, dances, musical score?

4. The title, desire, what laws? Sexuality, marriage, birth, siblings, gay relationships, affairs, transsexuals? Childcare? Protective mothering? Generous love? Psychopathic behaviour?

5. The prologue, the pornographic, sexual scene? Its place in the film?

6. Pablo, making the film, his success, acclaim, at the social, his relationship with Juan? Leaving the party, with Juan, the sexual relationship, Juan and his needing time, Pablo and his typing the letters? Antonio, the encounter, Pablo eyeing him? Antonio’s approach, the relationship, demands? Tina, the talk about their father, their situation? Tina living with her brother? Ada, her age, the mother in New York, the mother’s return? Preparing for the theatre, directing Tina, the play, Tina’s impassioned performance? Juan going away, Pablo following, the encounter with Antonio, Juan’s death, Pablo crashing the car, losing his memory, in hospital, Tina’s visit, the telling the stories? Ada loving him? Regaining his memory, caution, suspicious of Antonio, at the apartment, his intervention? The sex, smashing the typewriter, Antonio’s suicide?

7. Tina, her story, Carmen Maura and her flair, presence in Almodovar films? The transsexual story, relationship with their father? Meeting the priest playing the organ, remembering Tina as a boy, refusing to allow her to sing in the choir? Mothering Ada? Intense performance, Ada as part of it, the Jacques Brel’s song? Her response to Pablo? The later relationship with Antonio, not knowing who he was? Pablo’s accident, going to the hospital, talking? The searching of his apartment? The drugs? The dramatic view of life? Its effect on her and others?

8. Antonio, Antonio Banderas, his aims, watching Pablo, the approach, using sex, desire, the intense affair? The letters to Laura P? Jealousies? Wanting to know about Juan, following him to the countryside, talking with him on the beach, the confrontation, pushing him off the cliff? With his mother? The police, the interrogations? The mysteries of the letters to Laura P? The finale after his encounter with Tina? His demands, the police, the sexual behaviour? His suicide?

9. Ada, her mother in New York, Tina caring for her, religious, prayer, devoted to Pablo? The end with the policeman?

10. Ada’s mother, in New York, not caring for her daughter, the return and her behaviour and attitudes?

11. The police, the range of personnel, the search, the apartment, cocaine, the typewriter and the letters? The straight up-and-down policeman and his homophobia? The contrast with the easy-going veteran, the drugs? The encounter with Tina, the search? The issue of guns? The policeman hit by Antonio in the apartment? The police in action, the confrontation below the apartment building?

12. Almodovar, sexual orientation, explorations of themes – by drama and melodrama?

FIRST KILL

US, 2017, 97 minutes, Colour.
Bruce Willis, Hayden Christensen, Ty Shelton, Megan Leonard, Gethin Anthony.
Directed by Steven C.Miller.

First Kill is one of the many films that Bruce Willis made after his stardom had peaked. He could play hero or villain.

This film has a rather complicated screenplay, a focus on hunters, crooked police and murders, cover-ups, diamond robberies, victim suspects, abductions. To that extent, the screenplay keeps the interest. Ty Shelton is the young boy, Gethin Anthony the suspect who turns out to be something of a hero.

1. The title, father and son going hunting, the prospect of the son’s first kill, the contrast with the reality, the criminals, murders?

2. The city sequences, Wall Street offices? Homes and suburbs? The woods and the forests? The small town, shops, police precincts? Hideouts? The musical score?

3. The introduction to Will, busy, challenges, at home, with Laura, with Danny? The decision to take time off? Going to his old home in town? The meeting with his aunt, her warm welcome?

4. Driving, the incident with Howell, memories of the past, the police, his father and his death?

5. Danny, his age, relationship with his father, going hunting, his reluctance? His father showing him how rifle worked? His increasing interest? The deer in the forest, setting the sites, his being disturbed?

6. The puzzle of the situation with the two men, confrontation, the jewels, hidden in a deposit box, the verbal arguments, the shooting, Levi throwing the key? The policeman, sensing Will and Danny present, shooting, Will shooting the policeman? The cover-up and explanation?

7. The opening, Levi and the robbery? His being set up? His surviving, Will taking him and asking Laura to bind his wound? Her initial reluctance? The cover story?

8. Further police, the crooked connections with the robbery? The crooked police wanting to find Levi? To recover the diamonds?

9. Howell and his investigations, supporting Will, the questions, the meetings? The gradual revelation that he was behind the robberies? The killing of Will’s father? His complaint about deserving to have a reward for all his service to the people and their ingratitude?

10. Levi, taking Danny as hostage, his treatment of him? The time limit, Will to find the key, to find the box? Levi and his girlfriend, the mother, her illness and respirator? Danny being more comfortable, the friendship with Levi, playing the computer games, the time passing?

11. Will, returning, finding the key? The other police, investigations? The mystery of the gun that killed the police, Howell and his investigations? The investigations to find about the sick woman, the address?

12. Will, his being followed by Howell, persuaded about the setup, the information for the rendezvous, Will going into the house, Danny being let go, hiding on top of the lookout? The police pursuing him, climbing, Danny pushing him over?

13. Howell, The revelation of the truth? Will and his disillusionment? Collaborating with Levi?

14. The confrontations in the woods, the shootings?

15. Laura being abducted, the other policeman, her being in the rifle sights? The distraction, Howell and his death? Levi being shot?

16. The happy ending, the family reunited, the effect of the experience on Danny, being so young?

SOPHIE AND THE RISING SUN

US, 2016, 105 minutes, Colour.
Julianne Nicholson, Margo Martindale, Takashi Yamaguchi, Diane Ladd, Lorraine Toussaint, Joel Murray.
Directed by Maggie Greenwald.

This film is set in North Carolina, in a small fishing village, at America’s entry into World War II.

Sophie is played by Julianne Nicholson, a quiet woman who lives in the town, a friend of an older woman played by Margo Martindale. She has an African- American servant, Lorraine Toussaint. All seems normal in the town, the men going away to the war.

However, a traveller arrives, ill, and is taken in by the women. He is Japanese, has travelled from New York City, needs care. The old woman cares for him. Sophie becomes attached to him, falling in love with him.

Prejudices surface against him, some of the women gossip, especially a neighbour played by Diane Ladd, who has tended a son severely wounded in World War I.

The film then becomes a mixture of the tenderness in the care for the man, the love, the protection contrasting with the rabid prejudice leading to violence and brutality. The film is a reminder of the internment of Japanese Americans for the duration of World War II.

The film was directed by Maggie Greenawald, The Kill off, Ballad of Little Jo, Songcatcher many television programs.

1. A piece of Americana? The American South? 1941? Pre- Pearl Harbor? Post- Pearl Harbor?

2. The setting, the small town, the coast and fishing, the streets and the woods, homes, cinemas, churches, society? The musical score?

3. The opening with the bus, the body on the street, the injuries, the issue of the name, people’s concern, a place for the injured man to stay, approaching Anne, widow, the man recovering, assumed to be Chinese? The encounters with Sophie, talking? The sheriff and his men? Taking the problem to an Anne her taking the man in?

4. Ruth Evers, John, the severe injuries from World War I? The tenderness towards him? Visits to the church, the congregation, the minister and the sermons? The ladies’ club and gardens? Anne’s contribution?

5. Sophie, her character, age, past experience, alone, fishing, painting? The flashbacks to her memories, the severity of her mother, her childhood black friend and her being beaten for keeping her company?

6. The housekeeper leaving, Salome coming, her interview, acceptance from Anne? Her work, her being shunned by the white visitors, especially Ruth? Her concern for Anne? Anne’s injuries? Sophie seeming to ignore her? The final revelation that she was the childhood friend? The past, the child and its name, death? Her being a singer and touring the South? Her return to the town?

7. Anne at her garden, Mr Orta and his help, skills? The hydrangeas? Buying the seeds and his treatment at the shop? Anne giving her husband’s clothes? A love of poetry?
8. Mr Orta, his Japanese background, the first son born in the United States, California? His courtesy, the injuries and the background of his being attacked and robbed in New York City, on the bus, recovering, working the garden? His painting, the same spot as Sophie? The gradual attraction, his name is Grover? Being observed, the kiss? His plans, apples, going to New York to buy the apples? His love of music, dancing with Sophie?

9. World War II, the comments on the Russians, the Germans, the Jews in the camps, the comment on hearsay? Whether America should join the war effort or not? Going to the movies, the scenes of Japanese massacres?

10. Issues of prejudice, race, divisions of churches, yellow people being considered as coloured? The radio and propaganda? Mr Orta being ignored, the African- Americans?

11. The bombing of Pearl Harbor, the reactions, and her distress, Ruth and her upset, Sophie learning the news, the fact that Grover was Japanese? The visuals of Roosevelt’s speech?

12. Prejudice, the destruction of Anne’s garden, Dirty Jap painted on the wall? Grover, the offer of a lift, his being bashed and stabbed? Anne and her concern, attentiveness, her shock at his being Japanese and the enemy? Salome scrubbing the wall? Anne and her lie about Grover being gone, attending his wounds, Sophie weeping? The car, taking him to her father’s shelter? Supplies, her mailing the letter, his promise about the garden?

13. The badmouthing of the races? Prejudice against the Japanese? Grover and his staying in the hut, recovering?

14. Christmas, the congregation singing hymns, silent when passing Sophie’s house? The sheriff’s arrival, the search of the house, his physical attack on Sophie?

15. The food for the week, Anne unable to bring it, the letter for Sophie, the food? Sophie going to the hut, the painting? The sexual encounter and its effect on her?

16. Ruth snooping, Anne and the stories of her past and her so-called respectable father? Threatening to expose him?

17. The decision that Grover should leave? The car, Salome and driving the car? Sophie and her deciding to leave, packing?

18. Ruth, her visits to Anne, the arguments and prejudice? The snooping at the window? Seeing the car with its lights out, following?

19. The car passing, Grover and Sophie escaping, Salome and her confronting Ruth, physically, denouncing her?

20. Grover and Sophie seen together, interned in the camp?

21. The tenderness of the film, the violence of American racism, the plight of the Japanese in America during World War II?