THE BAD SISTER

US, 1931, 68 minutes, Black-and-white.
Conrad Nagel, Sidney Fox, Bette Davis, Humphrey Bogart, Charles Winninger, Emma Dunn, Zasu Pitts, David Durand, Slim Summerville.
Directed by Hobart Henley.

This is a brief drama of the early 1930s. Interesting to see in retrospect that Conrad Nagel and Sidney Fox have top billing whereas Bette Davis and Humphrey Bogart were under the main titles.

This film was based on a play by prominent novelist, Booth Tarkington. The title of the play was Hush Money.

The focus is on a family in a small town, Charles Winninger playing the genial father, Emma Dunn the devoted mother. Zasu Pitts steals all the scenes she is in with a hard-talking, not-to-be-imposed-on maid.

The centre of the film is one of the daughters, Marianne, played by Sidney Fox. She is completely narcissistic, looked down on by the maid, putting her younger sister, Laura, Bette Davis, in the shadows. And there is a very cheeky boy , mischievous but engagingly played by David Durand.

Marianne likes to play the field, intended as a wife of a burly, sincere, businessman, but leading on the local doctor with whom her sister is in love. By chance, Marianne meets a suave stranger, Val, played by Humphrey Bogart. She becomes infatuated, manipulating the family, manipulating the doctor, completely oblivious to anyone’s feelings. However, course, Bogart is playing a smooth-talking con man who gets the money from the father and from the businessman of the town with a false promise of industrial building and disappears.

The doctor discovers his love for Laura. Marianne returns home ashamed and has to make do with the burly businessman. The screenplay has her doing the making do – but, the audience may wonder how long this will last.

Small town America at the beginning of the 1930s, with emphasis on business conmen and on relationships.

THE DOCTOR TAKES A WIFE

US, 1940, 88 minutes, Black-and-white.
Loretta Young, Ray Milland, Reginald Gardiner, Gail Patrick, Edmund Gwenn.
Directed by Alexander Hall.

Hollywood comedies in the 1930s were often described as screwball comedies, eccentric characters, zany situations… By the 1940s they became a touch more sophisticated with better production values. This is one of those films, directed by Alexander Hall who made a number of similar films including the original My Sister Eileen. It is a star part from Loretta Young, getting a bit older and sharper, very much in the dominating Rosalind Russell style. Ray Milland was emerging as a star and was to win an Oscar five years later for The Lost Weekend. (Edmund Gwenn plays Ray Milland’s father and Loretta Young and Gwenn were both twin Oscars in 1947 for The Farmer’s Daughter and Miracle on 34th Street.)

It is a screwball situation, Loretta Young as an author, dominantly feminist, dismissing of men, but using them when it is opportune – which happens when she encounters Ray Milland as a doctor who is forced to give her a lift to New York City. By accident, the just married sign is put on the back of their car and there are problems because she has written a book, Spinsters are not Spinach, beloved of unmarried women throughout the US.

What follows is a comedy of errors, her agent, Reginald Gardiner, suggests she write a book on marriage after the press gets hold of the news of her marriage to the doctor. He, meanwhile, is offered a professorship as long as he is married. They keep up the sham for a while but this leads to a range of screwball situations, changed by a sentimental visit for him to deliver a baby and she assisting, and a romantic ending.

1. Comedy style from the 1930s screwball comedy tradition? Characters, mix up situations, jokes and comedy?

2. The title, expectations? The cast and their styles?

3. New York State in Connecticut? Towns, hotels, the contrast with the city, offices, universities, medical centres? The musical score?

4. The focus on June, Loretta Young and her career, smart, author, feminist of the 1930s, her book, publicity, devotees, autographs, celebrity? Her disdain of men? The initial encounter with Tim, her being demanding about trains and transport, his being on the phone, the antipathy? Her capitalising on his travelling to New York by car, imposing herself? The accident with the head cast? Her stopping to send a wire? The just married take on the back of the car? The official scratching his head?

5. June, the interactions with Tim, his medical background, investigations? His wanting to be a professor? His having to be married? His engagement to Marilyn? The clashes with June, the drive?

6. In the apartment, clashing, having to stay? The setup? The reporters, the phone calls about the marriage?

7. John, agent, focusing on cash and royalties? Dapper style? Capitalising on the situation, informing the press?

8. The plan, June to write a book on marriage to keep her fans? Tim and the offer of the professorship, the forthcoming marriage? His father and his interventions? The professor? The socials?

9. The arrangements in the house, June beholden to Tim? The discovery of the truth? Vice versa?

10. The farce with the guests on the professor arriving, Marilyn arriving, the neighbouring flat, Jim in and out of the window with the drinks, appetisers…?

11. The invitation for the weekend, June not wanting to go, in the car, the official of the horror hotel door and his puzzle about marriage? Marilyn coming, June hiding?

12. The intervention of the footballers, their exam, playing, overhearing about John, coming back, tackling John?

13. The change of pace, the police wanting a Dr, the family and the birth, Tim helping, June deciding to help, the change of attitude, the return to the city?

14. The threat of exposure of the non-marriage? Marilyn at her party, to the announcement, June turning up, ostentatious about being married, knitting the clothes for the baby…?

15. Tim, exasperated, coming to his senses, the happy reunion?

BEIRUT

US, 2018, 109 minutes, Colour.
Jon Hamm, Rosamund Pike, Mark Pellegrino, Lila Behkti, Shea Wigham.
Directed by Brad Anderson.

Beirut is Beirut is a serious and sombre film. It is political, a dramatic look at American foreign policy, the role of Israel, the PLO. It was written by Tony Gilroy who has written some very interesting serious films like Michael Clayton, Duplicity, Nightcrawler. And the star is Jon Hamm, who made such an impression on television with Mad Men and has now established a film career.

While it is a film about espionage, it is not an action-packed film. It is an appeal to a more intelligent audience and it has disappointed those who are addicted to non-stop action and have found such dialogue tedious.

The film opens in Beirut (although the filming was done in Morocco, much to the upset of some Lebanese commentators. It is 1972, commentary made about coexistence in the country between Muslims and a variety of Christians, Jon Hamm appearing as an American host, Mason, a solid politician and negotiator. He is hosting a party with his wife, a young PLO 13-year-old boy who has been adopted, more or less, by the couple helping with the serving. Suddenly the party is interrupted, officials arriving, threats, the demand to surrender the boy because his brother has been one of the terrorists at the massacre of the Jewish athletes at the Munich Olympic Games. The tensions in the situation leads to some tragic consequences.

The film then moves to 10 years later, 1982, with Mason self-employed back in the US, still in grief about his wife’s death, alcoholic, and negotiator between companies and unions. Unexpectedly, a message comes from the State Department inviting him to return to Lebanon to deal with a hostage situation. The hostage is his close friend who was involved as an authority on the night of the party 10 years earlier.

Mason is somewhat reluctant but, drawing on his skills as a negotiator, he evaluates the situation with the local American authorities, the ambassador, the complexities of the demands by the PLO for Israel to return the terrorist from the Olympic Games who has been taken by the Israelis.

It is also sobering to watch this kind of story realising that this is the kind of thing that is going on in many countries, thinking of the Middle East, abductions, hostage demands, threats of retaliation, the need for the negotiators to have steady nerves and ability to think through situations and potential consequences.

The screenplay takes the audience through the various steps, contact with the Israelis, then discussion with the Israelis who deny having the prisoner, though not calling off further negotiations. There are the contacts with the PLO and their status at the time, and the presence in Lebanon.

Jon Hamm is quite credible in this role, a good man, a man who suffered, a man who has lost some confidence in himself but who draws on his resources to negotiate while respecting the demands and conditions of the respective parties. His co-star in the film is Rosamund Pike as one of the members of the team in Beirut. She is a presence. She is very serious (there is nothing to suggest any levity in the situation) and supports Hamm in the process.

There is a postscript at the end with a speech in a press conference by Ronald Reagan, the President talking about peace in that area of the world while there has been Civil War during the 1970s and impending 1980s invasions of Lebanon by Israel.

A story from past decades but still of immediate relevance.


1. The title, the focus on Beirut, Lebanon? Audience expectations? The history of Lebanon in the 20th century? The film going back to 1972, 1982, the postscript with the ending in the 1980s?

2. Audience interest in Lebanon? The divisions in the country, the city, Muslims, the range of Christians? The experience of Civil War? The relationship with Israel, the PLO? Invasions of Lebanon?

3. Audience interest in American foreign policy, the 1970s and 80s, the role of the United States? The emergence of greater terrorism? Civil War? The 1980s, abductions, mediation? The roles of ambassadors, brokers, foreign affairs staff? Negotiations? The contact with Israel? Surveillance? Issues of money? Betrayal?

4. The use of Moroccan locations for Lebanon? The city, the countryside? The musical score?

5. The introduction, Mason and his role in Lebanon, social host, negotiations, political background? His relationship with his wife? Their taking in Karim and his working in the house? The hopes for adoption and education? The situation in 1972, the Munich Olympic Games, the terrorism deaths? PLO? Israel? The party, the arrival of the authorities, their wanting Mason to give up Karim, the potential for an attack? The reactions of the abductors, the PLO, firing the rifle, Mason and his grief at the death of his wife?

6. 10 years passing, Mason as a broker, with the unions and companies? The meetings, the discussions, the angers? Sully coming to the bar, his message and delivering it?

7. Mason, his grief, work, drinking? The background of his friendship? The offer of the job, the flight, passport, his making the decision?

8. Going to Lebanon, the role of the American Ambassador, the officials, Gary, Gaines? The role of Sandy and her presence? The personalities, interactions?

9. Mason, giving a lecture at the University, the host looking after him? His cover? The discussions, the issues of the deal, the various abuse?

10. The role of Israel, the abduction of Cal Riley, his being held, his friendship with Mason? His role 10 years earlier, the consequences with the death of Mason’s wife?

11. The terrorist, his role in Munich, meetings with his brother in Lebanon, the photos of them together, his cover in Spain? The abduction and the exchanges, PLO wishes? Israel and the denial of the prisoner’s existence? Yet negotiating?

12. The buildup to the exchange, the tensions, Mason and his role, Sandy and her presence? Gary and his irritability? Gaines and his pressures? The role of the ambassador? The visit to Israel, the Israeli authorities, Gary thinking negotiations were over, yet the phone call and the contact? The continued denials, exchanges? The bargaining about the money? Karim and his presence with the PLO? The past friendship?

13. The setup, negotiations, snipers ready, Cal being released, Mason staying, the money exchange, the brother going to Karim? The gun fire, the deaths, the Americans escaping?

14. The aftermath, the assessment, Washington decisions? The role of those in Lebanon? Sandy and her presence in support, her staying?

15. The postscript, the press conference with Ronald Reagan, Israeli invasions and the consequent history for Lebanon?

LA FLEUR DU MAL/ THE FLOWER OF EVIL


France, 2003, 104 minutes, Colour.
Nathalie Baye, Benoit Magimel, Suzanne Flon, Bernard Le Coq, Melanie Doutey, Thomas Chabrol.
Directed by Claude Chabrol.


Celebrated New Wave French director Claude Chabrol, was still making films in his 70s at the beginning of the 21st-century. He made a great impact in the 60s and 70s, crime dramas which were powerfully psychological, commanding strong French casts.

He continued this tradition during the 1980s and 90s with a wide range of acclaimed thrillers.

This film is in a strong tradition. It has overtones of family tragedies, different generations, going back to traditions from Greek drama.

While the situation is contemporary, the themes are universal, especially with the central character wanting to be mayor of the city, the exercise of her campaign, the issue of family secrets, the influence of her elderly aunt and memories of the German occupation of France. Nathalie Baye, as always, is very strong in this role, supported by veteran Suzanne Flon as the aunt.

Benoit Magimal is the young son who has been in America for some time and returns home to the family conflicts. Also in the cast is Chabrol’s own son, Thomas.

A very interesting and complex plot, insight into French families and traditions, family secrets.


1. A personal and political thriller? Murder thriller?

2. The work of the director, from the 1960s for half a century? The strong cast and their place in French cinema?

3. France, Bordeaux, the provinces, the mansion, the interiors and the affluent way of life, the town, visiting the poorer estates, the campaign offices, the visit to the beach and the Germans, country house? The musical score?

4. The title, the evil in the family, the origins in the 1940s, the collaboration with the German the German occupation, the members of the family and the resistance, Aunt Line and her role in the family, love her brother, killing her father? The plane crashes? The combining of families?

5. The introduction, the house, the stairs, Michele sitting in the room, the body on the floor? And the resumption of the sequence of the end, what happened, covering up the killing?

6. The introduction, François, returning from the United States, three years away, his attitudes towards the United States and the Americans, the critical comments about Americans, beliefs, God, food? The changes in the town, going home, greeting each member of the family, the meal together? His relationship with his father, stepmother? With Michele and the reticence? With Aunt Line? Matthieu, his work with and, the pamphlet and reading it aloud, the reactions? The attraction to Michele, talking, reuniting?

7. Gerard, his business and pharmacy, lab, shop? His wife, marrying Anne? His lack of interest in politics? The issue of the pamphlet and the irony that he wrote it? Angry at his son? Not participating in the political campaign? The social with the Mayor, flirting with the actress, her visiting the shop? His coming on to Michele and her resistance? The lampstand, his death?

8. Anne, marrying into the family, the background of politics, her standing for election, busy, working with Matthieu, at home, cheerful, vigorous, the campaign and visiting the estates, with the people? Pleasant? At the social, confronting the right-wing politician, asking him about the pamphlet?

9. Aunt Line, her age, her story, on trial, freed, her reputation and people’s memories? With the youngsters, encouraging them, the key to the holiday house? The visit, the Scrabble game? Michele and the death of Gerard? Moving the body, upstairs, changing the lamp? Telling the true story? The election and her taking the blame, calm?

10. Michele, with her mother, Gerard as a stepfather, living in the house, François and his return, their love since childhood, the years, the confession, the behaviour of each during François’ absence, the sexual relationship? The decision to go to the holiday home, on the beach, together? Aunt Line and her visit?

11. The election, the visits and discussions with the voters?

12. Matthieu, his character, role, assistant, furthering his career, hard work?

13. The visit to the restaurant, Pierrot and his memories, supporting them?

14. Michele, her psychology, discussions with François about not liking his father? The reasons? At the beach? Her studies? Gerard and his advances, her defending herself, his death?

15. The pamphlet, the contents, the effect, and persevering, questioning the far-right politician, the campaign, the fact that Gerard wrote the pamphlet? The voting day Anne and success?

16. The death upstairs, Michele and Aunt Line coming to the party, François knowing? Everybody mingling? The future?

PATTY HEARST

US, 1988, 108 minutes, Colour.
Natasha Richardson, William Forsythe, Ving Rhames, Frances Fisher, Jodi Long, Dana Delaney.
Directed by Paul Schrader.

Patty Hearst was the granddaughter of press tycoon, William Randolph Hearst of San Simeone fame (and the subject, disguised, of Orson Welles’ Citizen Kane).

The been a number of films about Patty Hearst and her being abducted during the 1970s, including The Ordeal of Patty Hearst (directed by Paul Wendkos, starring Lisa Eilbacher, 1979). In the 70s and 80s, her ordeal was well known, her being abducted, being brainwashed by the Symbionese Liberation Army, being forced to participate in bank robberies, an illustration of the Stockholm Syndrome and her being sympathetic to her captors.

The screenplay of the film raises the question of whether Patty Hearst was completely brainwashed or went along with the experience with the rebels, pretending to be part of the group.

The film gives something of the background of the Hearst family, of the 1970s in California, the University of Berkeley. Natasha Richardson is an interesting choice to play Patty Hearst. Some up-and-coming actors at the time, on screen and on television, were part of the group including William Forsyth, Ving Rhames, Frances Fisher, Dana Delaney.

The film is also interesting as being directed by Paul Schrader who came to prominence with his screenplays in the 1970s, especially for Martin Scorsese, including Taxi Driver and, in the 80s, The Last Temptation of Christ. Schrader moved into directing himself in the late 1970s with such films as Blue Collar, Hardcore. His career as director was very mixed, his films include Affliction, Auto Focus, the prequel to The Exorcist, Dominion, The Walker. He made a bizarre film with Lindsay Lohan at a bizarre time in her life and career, The Canyons. Latterly, he was very successful with his religious exploration, First Rerformed.

1. Based on actual events? Actual characters? The interpretation? Patty Hearst’s perspective and writing? Audience knowledge about her and the Symbionese liberation Army?

2. California in the 1970s, the Berkeley campus, the Hearsts and their wealth, the influence of the Hearsts? The experience of the kidnapping? The musical score?

3. The Symbionese Liberation Army? Origins, causes, in the era of protest groups, in Europe, the US? Socialist, racial? Anticapitalism?

4. The range of members of the cell, African- Americans, Whites? Cinque and the leadership? His ideology, emotions, action, rebellion? As a leader, in the kidnapping, talking at Patty, with her, the threats, bullying, his regime, action and bank robbery? His status?

5. Teko, the white member, sometimes posing as black? His character, ideology, personal impact? With Cinque? With Patty? In action, the training, restless, the robbery? The retirement? His relationship with Yolanda, her detesting him? Working with him?

6. Yolanda, the other women, African- Americans, white, believing the causes, their behaviour, interactions? With Tanya? The robbery? Sexual advances? The move to Los Angeles, Yolanda organising the robbery, the deaths? Wendy as the host in Los Angeles, the garden, the attitudes?

7. Patty, aged 19, the voice-over, the narration and the perspective? The shock of the kidnapping, in the boot of the car, the silence, the dark room, the blindfold for so long, food, toilets, sexual? The stylised presentation of the door continually opening, the angle of those talking with Patty, the quick succession? Her behaviour, the threats and the effect?

8. The Stockholm Syndrome, the change in Patty, feeling free, identifying with the group? Her speech, the denunciations, the tapes, her role in the media?

9. The effect on her, recognising the characters and their names? Going through the training,, living conditions, relationships? The months passing? Her acting and her interior life and sense of freedom?

10. The bank robbery, the style, Patty not being able to give her full speech? The money, the group revelling in the cash?

11. The second robbery, the shooting? The escape?

12. The issues of cars, guns, taking the car from the Latino? Getting the boy and his cutting the handcuffs Teko?

13. Wendy, the hideout, her garden, with the others?

14. The FBI, police, setting the house on fire? The deaths?

15. The arrest, Patty stating her occupation as urban terrorist?

16. Prison, making the tapes, the lawyers, the reactions, the further tapes?

17. The lawyer, the argument with the police, in court? Her dissatisfaction? Giving testimony? The impression she made? The guilty verdict, from each member of the jury?

18. Her meeting with her father, her attitude “fuck everyone� at the end?

19. The final information, Teko and Yolanda and their work after prison? Wendy in prison? The information about Patty Hearst, going back to her family, her marriage, work, appearing in films? The pardon?

GRACE QUIGLEY

US, 1984, 87 minutes, Colour.
Katherine Hepburn, Nick Nolte, Kit Le Fever, Chip Zien, William Duell, Elizabeth Wilson, Walter Abel.
Directed by Anthony Harvey.

This film is an unusual project for Katherine Hepburn as she aged and suffered from conditions which made her physically shake. It was directed by Anthony Harvey who directed her to an Oscar for The Lion in Winter. However, there was a great deal of interference in producing the final cut.

Katherine Hepburn portrays Grace Quigley, an elderly woman, wanting to kill herself. She witnesses the killing of her landlord and makes a decision to go to a hitman and make a contract with him to kill her.

Material for black comedy, especially for assisted suicide in a bizarre fashion with the hitman. Nick Nolte plays the hitman and there is quite some spark in the interactions between the two unlikely characters. And even more unlikely is their partnership and even blacker comedy about suffering people and their deaths.

A definite curiosity item.

1. The impact of the film? The stars? The themes? Black comedy?

2. The reworking of the film? Deletions, re-editing? The use of the title, The Ultimate Solution of Grace Quigley?

3. The film as a star vehicle for Katherine Hepburn, at her age, mid-70s? Comic touches? Serious themes? Ageing, purpose in life? Death?

4. The credits, Grace, old, the rent, the bird, the landlord? Her anger? His being shot? The mood of the film and Grace’s mood?

5. Grace, her life, age, lack of purpose, her attempts to kill herself? The effect of seeing the killing of the landlord? A change of attitude, going to see Seymour? The discussions, the proposition, the contract?

6. The contract, the deals, her management? Issues of money? The old man and the contract, the discussion, the group? The personalities, Grace’s zest? Advertising, the range of people?

7. Seymour, Nick Nolte, age, character, hitman, soft-hearted, his relationship with his girlfriend, her being a hooker?

8. The tour of New York, the range of all people, institutions – and the need for the killings?

9. The details of the killings? Grace and her being an entrepreneur? The incident of the cab driver stealing her shoe and her reaction?

10. The effect on Seymour? The effect on Grace? And, in her case and for the film itself, the ultimate solution?

PRAISE

Australia, 1998, 98 minutes, Colour.
Peter Fenton, Sacha Horler, Marta Düsseldorp, Ray Bull, Joel Edgerton, Yvette Duncan, Tex Perkins, Loene Carmen, Lynette Curran, Susan Prior.
Directed by John Curran.

Praise is based on a novel by Andrew Mc Gahan who also wrote the screenplay and won some awards.

The film, as a number of people noted, is in the vein of Leaving Las Vegas, focuses on two loners, addicts, who find some comfort in sharing their lives. They are played by Peter Fenton and Sacha Horler, in an award-winning performance. There is a very good supporting cast including Marta Dusseldorp, Joel Edgerton before his international career, and veterans Lynette Curran and Loene Carmen.

The settings are quite dingy as is the life of the two central characters. There is some background to their lives, their families, pasy relationships. But, it is an exploration of some form of confession, addictions and compulsions, trauma.

The film was directed by American John Curran who has made a number of interesting films including a version of Somerset Maugham’s The Painted Veil as well as the film about Edward Kennedy, Chappaquidick.

1. The title? Praise of others? Praise of self?

2. The novelist, adapting his work to the screen? Serious, humour?

3. Brisbane, the city, houses and institutions, authentic atmosphere, naturalism?

4. The musical score, the range of songs?

5. The voice-over, the form of confession, people with trauma, addictions, compulsions? Decency? Hurt?

6. The structure: the introduction, the house, the introduction of the themes, Gordon and his family background, his addictions? Cynthia and her family, mental condition, nymphomaniac, skin problems?

7. The graphic sequences of the relationship, sexuality, addictions?

8. An Australian story of the 1990s? The background of family? Affirmation of family or not? Education and lack of education? Work, the dole, opportunities? The issue of decency, moral framework? Possibilities for change? Behaviour, men and women, future or not?

9. Gordon and his world, his life, his inner space, sharing the room, the old men, his friends, their characters? The encounter with Cynthia? His drugs, asthma, sex? Drinking, smoking, heroin, the addictions? His self-pity? Work in the bottle factory? Stopping work?

10. Gordon and his relationship with Rachel, losing touch, her returning at the end?

11. The filthy apartment, those living there, Gordon and his friends?

12. Cynthia, leaving home, the long period of nymphomania, sexual behaviour, living with the skin problems? The encounter with Gordon, interactions with him, the sexual demands and his response? Her personality, her future?

13. The background of the institution, the staff, psychologists, nursing? Gordon having to give an account of himself, his behaviour, sexual behaviour?

14. A portrait of two disturbed people? A film with understanding? The possibilities for self-knowledge beyond self-pity? What future?

KAFKA

France/US, 1991, 98 minutes, Colour and Black-and-white.
Jeremy Irons, Theresa Russell, Joel Grey, Ian Holm, Jeroen Krabbe, Armin Mueller- Stahl, Alec Guinness, Brian Glover, Keith Allen, Simon Mc Burney, Robert Flemyng.
Directed by Steven Soderberg.

Kafka is the second feature film directed by Steven Soderberg. At 26, he had won the Palme D’ Or at the 1989 Cannes Film Festival and he was launched on a career that saw ups and downs, especially downs in the mid-90s, a revival at the end of the 90s with such films as Out of Sight, culminating in an Oscar for direction for Traffic, the same year that he directed Julia Roberts to an Oscar for Erin Brockovich.

His career has been completely unpredictable, doing the light touch with the Oceans 11 series, much more serious in his two-part film Che on Che Guevara, his announcement that he was not making movies and concentrating on television, his telemovie about Liberace, Behind the Candelabra, and then a return to movie-making, always doing his own cinematography under another name, and experimenting with photo cameras in such films as Unsane.

This film can be appropriately described as Kafkaesque. It is not a biography of Kafka but rather imagining a nightmare in Prague in which Kafka is involved. He works as a clerk, responsible to authority played by Alec Guinness, approached by rebels and becoming involved with them and the death of a friend. There is a mysterious policeman always questioning him, Armin Mueller- Stahl.

There is a mysterious organisation and he is finally caught up, going to the Castle, the film moving into colour, his discovering a laboratory where human experimentation is going on.

Perhaps the film was too difficult for audiences, especially in the United States at the time, but, in retrospect, it is very interesting to get the atmosphere of Kafka’s own imagination, references and allusions to his own works, quotations from his novels.

Jeremy Irons gives a strongly typical performance as Kafka and is supported by Theresa Russell and a very strong supporting cast from Britain and from Europe.

1. Audience interest in Kafka? Life? His work?

2. The settings in Prague, familiar landscapes, the bridge, the Cathedral, the Castle? The various neighbourhoods? Offices, bars, apartments? The head office, the rows of desks, supervisors? The surrounding woods? The river?

3. The film moving into colour, the interiors of the Castle, modern, corridors, offices, laboratories, the roof? The musical score?

4. The strong international cast? The second film by Steven Soderberg? His career?

5. The parallels with Kafka? The opening, Edward, on the bridge, sense of presence, his being pursued, the doctor, the monstrous character, the struggle and his death? Setting a tone for the film?

6. The period and atmosphere, 1919, Czechoslovakia, government, offices, insurance companies, medical centre? The government, the police, anarchists, the torture of prisoners, the torture of victims and the Castle?

7. The blend of fact and fiction in the screenplay? Kafka’s life, the reference to Metamorphosis, the many references to The Castle, the many references to The Trial?

8. Jeremy irons as Kafka, his story, the narrative, his antagonism towards his father, writing the letter to his mother? His work, the monotony, the drudgery, every day the same? The background of his writing, the stories, publications? His creativity? Burgel and his constant supervision, the little man, officious, Gabriela and her coldness in the office, seeing her outside the office? The Chief Clerk and his sense of duty, Kafka and his not being promoted, the death of Edward and the possibility of promotion? His searching for Edward, the interrogation by the police inspector? Going to his apartment, the landlady, his being ousted? The meetings in the restaurant, the anarchists and his refusing to join them? The bomb and its explosion? The encounters with Bizzlebek, appreciating his writing? The imposition of the two assistants, acting like clowns in the office, Tweedledum and Tweedledee? And their becoming sinister?

9. The anarchists, Gabriella and her role, Edward and his participation, the men at the restaurant, the detonating of the bomb, the wealthy in the restaurant and the gourmet eating, deaths? The man with a scarf, encouraging Kafka to follow, and his searching for Gabriela?

10. The Chief Clerk, Alec Guinness, his age, sitting in his office, everything orderly, insurance premiums, his talking with Kafka, urging him to sport and activity? Looking at Edward’s file? Kafka later going into the office, searching the files? His being observed? At the end, everything back to normal, not interfering with orders from the Castle?

11. The encounters with the inspector, his manner, the cigarettes, the interrogations, the visits, knowing all about Kafka, pursuing him, the further interrogations?

12. Bizzlebek, as a sculptor, praising Kafka, their discussions, his seeing Kafka’s fiancee in the restaurant and attracted to her? His work in the cemetery, the Jewish gravestones and the only film indication of Jewish background? His rescuing of Kafka, hitting the two assistants on the head? He showing him the entry into the Castle?

13. Burgel, company man and supervisor, his book, patrolling the offices, his being laughed at, especially by Gabriela? Kafka following him to the toilets, his looking at the “dirty pictures�?

14. Kafka’s visit to the archives, his search of the records and the documents, the role of the keeper of the archives?

15. Kafka and his personality, introverted, retiring, the letter to his mother, the criticisms of his father, his fiancee’s visit to the father?

16. The puzzles, the encounter with the killer, the pursuit? The chase through the streets, light and darkness? His observing the deaths? In the woods, in the building, the top floor and all the dead bodies, his being caught in the lift, escaping and his being chased? The assistants and Bizzlebek’s rescue? The removal of all the bodies?

17. The role of the twins, the interview, imposed, stupid behaviour, complementary, Tweedledum and Tweedledee? The cover for their more sinister activities?

18. Kafka and his decision to go to the Castle, the secret passages, the interiors in colour? The information about Dr Murneau, the catalogue of men who disappeared? In the office, the contact with the doctor, the doctor guiding along the corridor, the revelation of the truth? The doctor knowing all about Kafka? The laboratories, the people being tortured, the scientific experiments, the availability of the bodies?

19. The doctor, his explanations, his own disappearance, the racket in bodies, the victims, experiments?

20. The assistant to the doctor, in the laboratory, chasing, going to the roof, Gabriela and her torture and suffering? The male victim and his attacking the doctor? Kafka and the explosion? His pursuer falling through the glass roof?

21. The background of revolution, the group and anarchy, Kafka being alone – and, at the end, things returning to normal?

DAZED AND CONFUSED

US, 1993, 102 minutes, Colour.
Jason London, Wiley Wiggins, Sasha Jenson, Michelle Burke, Christine Harnos, Rory Cochrane, Ben Affleck, Adam Goldberg, Anthony Rapp, Marisa Ribisi, Catherine Avril Morris, Matthew Mc Conaughey, Shawn Andrews, Cole Hauser, Milla Jovovich, Joey Lauren Adams, Christin Hinojosa, Parker Posey, Deena Martin, Nicky Katt, Estaban Powell, Jason O. Smith, Mark Vandermeulen, Jeremy Fox, René Zellweger
Directed by Richard Linklater.

Texan Richard Linklater who had worked in various occupations and had not gone to film school, made Slackers at the beginning of the 1990s and received some acclaim. He then wanted to make a high school film and, taking the title from the Led Zeppelin song, he wrote a screenplay involving quite a range of young men and women on the last day of classes in 1976, the bicentenary year.

The film focuses on the group, the senior year and hazing, the freshman and their being pursued, the details of the hazing. It then shows the various interactions, friendships, clashes, punishments. Some of the characters are sympathetic and there is more focus on them, Linklater stating that he altered their performances and presence in the film given the ability or lack of ability of the cast.

There are shenanigans, issues of sports and contracts, smoking pot, pool halls and music, boisterous outside games.

There was a documentary in 2013, well worth looking at, Richard Linklater 21, offering a lot of background to Linklater, his career and talents, his focus on Texas, and details of many of his films including Dazed and Confused.

1. Youth film? High school film? 1976? From the memories of the 1990s?

2. The work of Richard Linklater, his having made Slackers? His second film? The range of his cast and the future careers of the director and the cast?

3. Texas, the 1970s, the range of young men and women, their attitudes, the US at the time of the bicentenary? The perspective of memories from the 90s?

4. The title, the term, from the Led Zeppelin song?

5. The last day of classes, the seniors in the preparation for the hazing? The freshman students? Hunting the men, hitting them? The girls, covered in mustard and other foods? Making them propose?

6. The focus on Mitch, not participating, caught, his friendship with Carl? The pot, Julie, participating in the gatherings, the keg party, the range of friends, going home, his mother waiting for him? Listening to “Slow Ride�?

7. Fred, his character, association with Pink? Their attitudes, punishing?

8. Kevin, the party, the keg party, his parents and permissions?

9. The other characters, Cynthia, Tony, Mike, David Wooderson and his being older? The characters, interactions?

10. Going to the Emporium, the pool hall, the music, the gathering, cruising around the town, the hamburger centre?

11. Playing the game outside, Boisterous, the neighbour with the gun and firing?

12. O’ Bannion, the paint, the revenge?

13. The keg party, the tower and the lights, the meeting, the fights and the punch ups?

14. Pink, the issue of the pledge, his not wanting to do it, wanting to play? The friendship?

15. The end of the night, people going home, some of the pairs, travelling to buy the tickets for the Aerosmith concert?

CHARLIE CHAN AT THE OPERA

US, 1937, 68 minutes, Black-and-white.
Warner Oland, Boris Karloff, Keye Luke, Charlotte Henry, Thomas Beck, Margaret Irving, Frank Conroy, Guy Usher, William Demarest.
Directed by H.Bruce Humberstone.

There is an evocative tone in the immediate credits card, Warner Oland versus Boris Karloff. And, indeed there is, with Charlie Chan engaging in his usual manner and Boris Karloff doing madness, obsession, threats and violence, touches of pathos – and his not emerging as the villain at the end!

Newspaper headlines were rather blunt in those days with continual reference to Boris Karloff’s character escaping from an institution as “maniac on the loose�. He is seen singing and piano playing at the institution where he has amnesia, seeing a newspaper which stirs his memories and leads to vengeance, his going to the Opera House to see his nemesis, the star diva. She, in the meantime, has gone to visit the local police for protection having received a death threat in a bouquet of flowers. She is accompanied by her co-singer, with whom she has been having an affair. There is a focus on her businessman husband and his wanting to expose the affair as well as the singer’s wife who has been humiliated.

The main local police are very good and put surveillance at the Opera House. However, the main focus is on William Demarest in an early role as a very old-style policeman, touch of racist, touch of superiority, a bit thick and slow in his making decisions, also involved in a number of slapstick pratfalls.

There is also a verbal joke remarking about the killer at the theatre – as likely as Frankenstein turning up!

There is opera, performance, Karloff sinister and taking the place of the singer. Both the singer and the diva are stabbed to death. One of the suspects is a young man who has accompanied a young woman to the Opera House – actually the diva’s daughter whom she has kept in the shadows, their wanting to ask for permission to marry.

It emerges that Karloff is the girl’s father and there is a certain tenderness as he plays the piano for her to try to get her to remember him.

Once again, an assembly of suspects, this time on the stage after a performance, the vindication of Karloff, the suspicions on the husband, and the finger pointing at the frustrated wife who is the actual murderer.

Entertaining, Chan at his most suave and polite, Lee get into all kinds of trouble disguised as a soldier in the supporting cast of the Opera, getting clues, some of which are effective, but ultimately way behind the solution of his father.



CHARLIE CHAN FILMS

Charlie Chan was the creation of novelist Earl Deer Biggers, creator of the popular novel Seven Keys to Baldpate (adapted for the stage in the early 20th century and the plot of many films of the same name and variations). Biggers saw the beginning of the popularity of the films of Charlie Chan in the silent era but died at the age of 48 in 1933, just as the series with Warner Land was becoming more popular.

20th Century Fox was responsible for the early Charlie Chan films with Warner Oland and gave them more prestigious production values than many of the short supporting features of the time. After Oland’s death, Fox sold the franchise to Monogram Pictures with Sidney Toler in the central role. They were less impactful than the early films. There were some films later in the 1940s with Roland Winters in the central role.

The films generally ran for about 71 minutes, and similarities in plots, often a warning to Charlie Chan to leave a location, his staying when murders are committed, displaying his expertise in thinking through situations and clues. He generally collaborates with the local police who, sometimes seem, characters, but ultimately are on side.

Warner Oland was a Swedish actor who came with his family to the United States when he was a child. Some have commented that for his Chinese appearance he merely had to adjust his eyebrows and moustache to pass for Chinese – even in China where he was spoken to in Chinese. And the name, Charlie Chan, became a common place for reference to a Chinese. In retrospect there may have been some racial stereotype in his presentation but he is always respectful, honouring Chinese ancestors and traditions. Charlie Chan came from Honolulu.

Quite a number of the film is Keye Luke appeared as his son, very American, brash in intervening, make mistakes, full of American slang (and in Charlie Chan in Paris mangling French). Luke had an extensive career in Hollywood, his last film was in 1990 been Woody Allen’s Alice and the second Gremlins film.

Quite a number of character actors in Hollywood had roles in the Charlie Chan films, and there was a range of directors.

Oland had a portly figure and the screenplay makes reference to this. His diction is precise and much of the screenplay is in wise sayings, aphorisms, which are especially enhanced by the omission of “the� and “a� in delivery which makes them sound more telling and exotic.

There was a Charlie Chan film the late 1970s, Charlie Chan and the Dragon Queen with Peter Ustinov in the central role.