SWALLOWS AND AMAZONS


UK, 2016, 96 minutes, Colour.
Rafe Spall, Kelly Macdonald, Andrew Scott, Jessica Hynes, Harry Enfield, Fenella Woolgar, Orla Hill, Dane Hughes, Seren Hawks, Teddie- Rose Malleson, Hannah Jane Thorpe, Sophie Wardlow, Bobby Mc Culloch.
Directed by Philippa Lowthorpe.


Swallows and Amazons is based on a popular children’s novel by Arthur Ransome. The 1975 film version was set in 1929. The setting for this version is the mid 1930s, echoing tensions in Europe, and especially between Britain and the Soviet Union.

Kelly Macdonald portrays the mother of the Walker family, the husband absent in Hong Kong with the Navy. The family goes to the Lake District, the four children eager to sail out to an island in one of the lakes. There are two boys and two girls, the oldest, John, in charge, the youngest, Roger, causing some troubles. The two girls act very sensibly.

On the train to the north, they encounter a strange man who goes into the carriage and escapes from the train through the window, two men in pursuit. It is assumed that the man being pursued is the villain – but, it turns out that he is not, has a sister and two nieces at the Lake (the nieces becoming the Amazons, rivalling the Walker family, the Swallows). The two men in pursuit are Russian agents.

There are various adventures, the children losing their food while camping on the island, the threat of the Amazon group, charcoal burners wanting to warn the pursuit man – and his being caught, taken on a plane but escaping. Rafe Spall is the hunted man, Andrew Scott the leader of the pursuers.

The film is something of a family holiday story along with the kind of adventure that John Buchan wrote about in the 1920s and 1930s – like The 39 Steps.

1. The popularity of the original novel? The children’s readership? Adults?

2. Changes in the characters and plot? The basic theme, the family, the holiday, the pirates, the adventure?

3. England, 1935? Home, travel on the train, the Lake District, the mountains, the lakes, the countryside, the island? The musical score?

4. The introduction to the family, the mother with the four children, organising them for the holiday, the father in the Navy, his absence in Hong Kong? Contact with the family? The telegram about their sailing? The presence, the gift of the knife, the glasses, the notebook?

5. The strength of character of the mother, with the children, careful about their adventures, trusting them, wanting them to experience life? Interactions with each of the children? Roger learning to swim? John and his responsibilities? Her concern about their actions, hearing of Roger in the water, the interactions with Jim Turner? His accusations? The experience on the train? The bond with the Jacksons? Her final pride in her children?

6. The family, John being the eldest, sense of responsibility, sometimes losing his temper, his father trusting him with a knife, his ability in sailing? Susan, next in age, bonds with John, clashes with him, her responsibilities? Tatty, genial, in the adventures, fishing with John, her keeping guard at the end, taking the boat? Roger, his age, young, wilful, easily upset, leaving the chicken coop door open, learning to swim, as a lookout? Upset about the knife? Losing it? His being reprimanded by John? Falling into the water, the rescue?

7. On the train, Jim Turner and his coming into the carriage, stern demeanour, escaping? On the island? The men in pursuit? His jumping off the train? His nieces and sister? Audiences assuming he was the villain? His boat, the search, his accusations against John, John’s apology? Audiences later realising that he was of the villain? His boat being searched, the plans, the Russians taking him, in the plane, getting loose? Reconciliation with everyone? Playing the pirate games with them?

8. The Russians, in pursuit, on the train, on the roof, tracking down Turner? With the shop proprietor? The personalities of the two, in pursuit of Turner, speaking Russian? Searching the boat? Roger dropping the knife and their getting it? Leaving it in the boat? Trapping Turner? The confrontation, the plans, taking Turner, the plane, the children tying the rope, cutting the rope (with the knife)? Captured? Russian- British tensions in the 30s?

9. The supporting characters, the Jacksons, their concern, the owner of the boat, the two old men with charcoal on the island and a warning to Turner? The shop owner and the touch of the flirt?

10. The two girls, Amazons, the boat, declaring war, the competitiveness, the challenge, their rating the camp, the walkers and their taking the boat, Tatty on guard and winning, the truce? The final games?

11. The British children’s adventure and its appeal?

ARREST BULLDOG DRUMMOND

US, 1937, 57 minutes, Black-and-white.
John Howard, Heather Angel, H.B.Warner, Reginald Denny, E.E.Clive, Jean Fenwick, George Zucco.
Directed by James Hogan.


This is one of the many short features focusing on Sapper/Herman C.McLeise’s hero Hugh “Bulldog� Drummond. Again, as with most of the films, he is played by John Howard. Howard seems very dapper in the role. He is supported once again by his silly-ass British friend, Algy, played by Reginald Denny, and the enterprising butler-valet, Tenney, effectively embodied by E.E.Clive. As usual, Drummond’s girlfriend and fiance, Phyllis, this time played by Heather Angel, is insisting on his giving up his career – but, as always, he becomes more involved and Phyllis helps him.

And, once again, there is a mastermind criminal threatening the world. He is played by George Zucco, a millionaire, exploiting a deadly ray, based on the stingray, which can blow up targets at a short distance. He kills an eccentric inventor who believes that the end of the world is at hand and therefore his ray is to be used for peace. The villain also has an upper-class woman as his co-conspirator.

This time Inspector Nielsen is played by the star of De Mille’s King of Kings,H.B. Warner, a more credible creation than John Barrymore’s. John Sutton appears as his assistant.

Drummond and Algy are caught investigating and are arrested, Nielsen being very suspicious. While he gets out, Drummond is also in danger of being arrested again – and also being abandoned by his fiancee.

Phyllis and her aunt go on a voyage with the villains on board. Drummond flies to the island where they experience their various confrontations, Algy and Tenney being trapped in a net but escaping with the help of a knife provided by a friendly bird, Drummond confronting the villain and fighting him, the inspector arriving – and all solved.

An entertaining, but rather usual, contribution to the series.

BULLDOG DRUMMOND’S REVENGE

US, 1937, 57 minutes, Black-and-white.
John Barrymore, John Howard, Louise Campbell, Reginald Denny, E.E.Clive, Frank Puglia, Nydia Westman, Lucien Littlefield, John Sutton, Miki Morita.
Directed by Louis King.


Not exactly the most accurate title – no revenge on the part of Bulldog Drummond. However, it is another entertaining episode in the series of Drummond films in the mid 1930s. John Howard is assured as Drummond, suave and effective. John Barrymore is Colonel Nielsen, standard performance before he declined and overacted in the role.

The regular supporting characters are present, Louise Campbell as Phyllis, Drummond’s long-suffering fiancee, forever being jilted before they get to the altar, his going on further jobs (and her becoming involved). Reginald Denny as the silly-ass Englishman, Algy, and Nydia Westman is rather hard to take as his prone to hysterics fiancee. E.E.Clive is always very welcome as the butler-valet who is able to go into action, often quite effectively.

As usual, Drummond is about to go to get married, this time going to Switzerland. However, on his visit to the colonel, he learns about a plot and becomes involved. A scientist has invented a very high-powered explosive. The colonel is warned by a Japanese diplomat that foreign powers are interested in stealing the explosives. The scientist flies out with his assistant who then kills him, sends the explosives out by parachute, parachutes himself, and the plane crashes – leaving a hand with the scientist ring on it.

Drummond and co are on the road and see the fall, take the case, not realising how dangerous it is. When they go home, the lights go out and the case is stolen. This leads to various investigations, pursuits, fights – and a train journey where the scientist’s assistant disguises himself as a woman, leading the pursuers on a chase on the train, on the ferry going to friends, Algy being stranded at various times.

There is the usual final confrontation, the rescue of the explosives, and all well, with Phyllis kissing Drummond in the hope that they will eventually be married.

This episode was directed by Louis King rather than James Hogan who did so many of the others.

JOHNNY ONE-EYE

US, 1950, 79 minutes, Black-and-white.
Pat O' Brien, Wayne Morris, Dolores Moran, Gayle Reed, Donald Woods.
Directed by Robert Florey.

This is a sentimental thriller for an undemanding audience. Whatever its success in its time, later audiences will find it rather twee.

While the film was made in 1950, it is a throwback to films from the 1930s, especially with stars Pat O’ Brien and Wayne Morris as well as character actor, Donald Woods. And the director, Robert Florey, was successful in that previous decade. Memories of Warner Brothers.

However, of interest is that the story is based on writings by Damon Runyon, the very successful narrator of New York crim stories. He was most successful with such stories and film versions and is Little Miss Marker, Sorrowful Jones and, most prominently, Guys and Dolls.

The film starts in a rather tough manner, a narration by Pat O’ Brien, two criminals confronting a man who has betrayed them and pocketed the money. He is shot, the body thrown overboard a ferry. Sometime later, both men have parted ways but are successful in their careers. O’ Brien is a businessman who throws lavish parties. Morris is an entrepreneur for Broadway musicals. A blackmailer threatens O’ Brien and he goes on a quest to confront Morris.

There is some song and dance in the rehearsals for the Broadway show, Dolores Moran singing and dancing. She has a little girl at home, quite precocious, played by Gayle Reed who does not take well to Morris but is fond of a one eyed dog.

O’ Brien and Morris do confront each other, shots fired. O’ Brien is wounded, wanders the city, befriends the little girl and her dog, calling him Johnny One- Eye. He takes the dog to a vet, played by veteran Donald Woods, who recognises O’ Brien’s physical condition from his experiences in the war. He removes the bullet, enabling O’ Brien to continue his pursuit of Morris, continue friendly with the little girl who thinks he is Santa Clause, encounter the blackmailing crook and his ally from the DA’s office (who shoots the crook).

When he finds out that the little girl knows Morris well, he confronts him, and there is a mutual shootout. The film ends with his final words to the little girl.

A curiosity item for the director, the stars and Damon Runyon.

FUNNY COW

UK, 2017, 102 minutes, Colour.
Maxine Peake, Paddy Considine, Alun Armstrong, Christine Bottomley, Stephen Graham, Tony Pitts, Lindsay Coulson.
Directed by Adrian Shergold.

Not the most engaging of titles – but it is the title for a film which has quite a lot going for it. This is a very British story, set in northern England in past decades, in the streets of a city, the touch of poverty row. But, it is the story of a character who emerges from this background to make something of herself, not without many difficulties and challenges.

This is a film about a stand-up comedian. Not an easy profession. It requires a great deal of self-confidence, even self-esteem, a sense of humour (often offbeat) which does not appeal to every audience and, we realise, audiences are hard to please and often become hostile and mocking.

In fact, the film opens with a middle-aged woman in close-up, her microphone, performing for an audience, touches of humour, but many wry touches as she talks about her family background. This performance provides a framework for the whole film, the anchor for the many flashbacks.

And the title? The central character is always referred to as Funny Cow (and, as a little girl, she is listed in the cast as Funny Calf). She is played by Maxine Peake, quite an extraordinary performance in its way, often very brash, often unrelenting, ups and downs in relationships, wanting to be a clown professionally, tongue-tied at an audition when young, stepping into the role unexpectedly and wowing her audience and not looking back. For those with more delicate sensitivities, it needs to be noted that her comedy initiatives at first, routines later, are very earthy, sex-oriented, few holds barred.

But, Maxine Peake’s presence and performance is compelling. Her background as a little girl is harsh, bullied at school but exuberant at home, her mother drinking, her father particularly brutal and whipping her but, when he unexpectedly dies, with eyes initially downcast, she exits the house and yells “Yippee!�. She has a brother and later visit him and his family but to little effect. (Stephen Graham is quite powerful in the role of the father, the embodiment of domestic violence – and also appears, much more subdued, in the role of her brother.)

She has sex in the back of a car with Bob (Tony Pitts who in fact wrote the screenplay). He too is ultimately violent – though there is a moving scene towards the end of the film when Funny Cow visit him in hospital. Her other relationship is fascinating both for herself and for the audience. She is browsing in a book shop owned by Angus, a sympathetic Paddy Considine, and they become friends, Bob threatening, but her going to live with Angus when she leaves Bob.

She uses the words about Angus and his friends, “educated� and “articulate�. She is bored by the performance of a Shakespearean play and realises that, though she is articulate, she shuns Angus’s type of education.

Alun Armstrong appears as a stand-up comedian, getting older, getting weary, trying to dissuade Funny Cow from the profession but her stepping in when finally he refuses to go on stage – which leads to a movingly fatal sequence.

And, there is her mother, sitting at home, perpetually drinking, with her daughter helping her to move away from the brutal past, get off the drink – and there are moving sequences they walk along the beach.

We don’t know where this will all lead for Funny Cow – we leave her, in her monologue, reminiscing, humorous, wondering whether lives a are fatal or whether we mould our own lives.

1. The title, the tone? Stand-up comedy?

2. The structure of the film and the comic touch, the various “bits�?

3. The popularity of stand-up comedy, the comedians, men and women, the audiences, supportive or ignoring, the strain and tests for the comedian?

4. UK, the North, past tickets, the inner city suburbs, the streets, homes, pubs and clubs, change over time, wealthy homes, the beachfront? Angus’s world, the shop, theatre? The musical score?

5. The introduction to Funny Cow? Maxine Peake’s performance, her screen presence, strong? The initial stand-up comedy, the effect, her age, looking back on her life, melancholy, her family? The jokes, the framework for the rest of the film, the flashbacks?

6. The town, Funny Calf and her age, the bullies at school, threatening them with the manure? Giving the balloon to Funny Cow? A strong child, at home, brother and games, her parents, sympathy for her mother, her mother being bullied, her being cheeky, defying her father, his belting her, his death – and her coming out of the room and yelling Yippee? And the memories?

7. Funny Cow in herself, self-esteem, low self-esteem, teenager, the swirling scene of her dancing, the relationship with Bob, the sex in the back of the car, her pregnancy? The relationship with Bob, the years, his violence, talking, leaving? Her aims, work?

8. The encounter with Angus in the shop, the big shop, the shelves, the search for the book, talking with Angus, her cheeky response to him, her return? Their going out, the restaurant, awkward with the spaghetti, the kiss, Bob confronting Angus in the car, the threat? Her leaving Bob and coming to Angus, their life together, the effect on Angus, his insights, literature, music, taking her to see the Shakespearean play, her leaving, hurting Angus?

9. The themes of those who are educated and those who articulate – and those who are not?

10. Lenny, Alun Armstrong’s performance? His act, the jokes, audience reaction, Funny Cow watching him, the audience reviving? The further performances, the same jokes, his failure? Her discussing been comedian with Lenny, the meal, his trying to put her off, wanting to be a clown?

11. Her going to the audition, Bob’s reaction? Her being tongue-tied?

12. Lenny, his attitude, sense of failure, not wanting to go on stage, the compere, Funny Cow going on, responding to the occasion, the bawdy stand-up comedy, cheeky, the customer and his being humiliated, the audience loving it? Her success, getting a contract?

13. Lenny, his dismay, going to the toilet, despair, hanging himself with the chain?

14. The years passing, her success, living alone, the variety of her performances, comic but melancholic?

15. The visit to her brother, sister in law and the mockery, his children? Her mooning them?

16. Bob, hospital, her going to see him, his apology?

17. Her visits to her mother, the mother drinking, remembering the past, the regrets, stopping her mother drinking, the walk along the beach?

18. The finale, her close-up performance? Life and fate? Making a life?

SOUTH RIDING

UK, 1938, 85 minutes, Black-and-white.
Ralph Richardson, Edna Best, Edmund Gwenn, Ann Todd, Marie Lohr, Milton Rosmer, John Clements, Joan Ellum, Glynis Johns, Herbert Lomas.
Directed by Victor Savile.

South Riding was a very popular novel of the 1930s, written by Winifred Holtby. The author died not long before the making of this film and there is an opening tribute to her in the initial credits as well as commenting on her perspectives on British life at the time.

The setting is South Riding, Yorkshire. The film introduces the central characters as members of the County Council, each of them stating their beliefs and political stances, including Ralph Richardson as part of a wealthy family and a traditional point of view, John Clements as a socialist, Milton Rosman as a dyed in the wool capitalist, Edmund Gwenn as an opportunist, Marie Lohr as the older, wiser and experienced woman on the Council.

The film traces their stories, Ralph Richardson who married a flighty young woman despite warnings from her father, tracing her mental decline and her being put in an institution (played by Ann Todd). He is concerned about the mental health of his younger daughter and wants her to go to a better school but, finances failing, even his precious horse which he wants to sell during a fox hunt falling. He disapproves of the application of a young teacher, Sara, Edna Best, but sends his daughter to her – and there is a mutual attraction.

The Socialist is concerned about housing in the town and wants to promote projects for improvements. This is in contrast with the capitalist who wants to purchase land for development, persuading Edmund Gwenn to come in on the deal and to invite others.

Eventually, at a council meeting, there is an un-masking of the plot, all set right and a grand patriotic scene with everyone singing Land of Hope and Glory.

1. A picture of Yorkshire in the 1930s? The reputation of the novel by Winifred Holtby? The initial tribute at the film’s beginning? The comments about the portrait of England?

2. The Yorkshire settings, South Riding, the countryside, the town, homes, the Council meetings, school, roads and buildings? The musical score? The finale with Land of Hope and Glory?

3. The focus on the County Council? The introduction of the members, their statements, right-wing and Conservative, left-wing and socialist? Capitalists? Women’s presence? The various meetings, motions, assent? The discussions between the members? Snaith and the property deal, his including Huggins? The contrast with Joe Astley and the concern about accommodation for the poor? Issues of the school and teachers? The final meeting, the president, the pressure on Huggins, seconding the motion, Robert speaking, swaying the assembly on the boat?

4. Robert and his story, the flashbacks to his courting his wife, the war, her father and his warnings, her moods, the marriage, the travels, her erratic behaviour, wanting to travel, criticising Robert, attacking him? Her love for him? Riding the horse upstairs? Her finally being interned? Robert and his paying for her comfort, reparation? The institution, the discussion about fees, her reaction at the moment that he contemplated suicide?

5. Robert and his daughter, his concern, the portrait of her mother, her mother’s dress and the daughter wearing it and his reprimand? His wanting to send her to a fashionable school? Voting against Sarah at the meeting? Sending his daughter to school, Sarah and her concern, the daughter and her fighting Lydia, their becoming friends? Sarah and her concern, the attraction to Robert? His breaking off the relationship?

6. Joe Astley, socialist, social concerns, housing, his personality, his cough, his activities?

7. Huggins, business, preacher, the congregation’s reaction? The young woman, the contact, the money, her marriage, the shop? Sarah overhearing the discussion about the property deal? His getting others to be involved in the property, keeping it secret, the relationship with Snaith? The confrontation by Robert and the other members of the Council, going to the chamber, seconding the motion, his being exposed, his relating?

8. Snaith, the emphasis on business, the property deal, linking with Huggins and the others? Keeping it secret? Robert putting his property on sale? Wanting to buy it? The meeting, the exposure?

9. Sarah, at the school, with the children, her exasperation, the reckless driving with Joe? Giving herself the day off, meeting Robert, the drinks, the kiss, the message from the institution and his breaking off? Her overhearing the plan? Going to find Robert, his will, contemplating suicide, the gun in the woods, stopping him?

10. Lydia, poor family, her studies, clashing with Robert’s daughter? Her mother dying? The plea for the scholarship? Two girls bonding?

11. The end, everybody united, England 1938 – Land of Hope and Glory?

THE SAXON CHARM

US, 1948, 88 minutes, Black and white.
Robert Montgomery, Susan Hayward, John Payne, Audrey Totter, Harry Morgan, Harry von Zell, Cara Williams, Chill Wills, Heather Angel.
Directed by Claude Binyon.

It is not surprising to find that The Saxon Charm was not a box office success in its day. It is a very dialogue-driven film and a portrait of a megalomaniac. The film offers it tour-de-force performance from Robert Montgomery as the central character, completely self-absorbed, a theatre producer and director, arrogant and presumptuous, treating everybody as beneath him.

He takes on a young playwright, John Payne, and promises to produce his play while all the time leading the playwright on, tinkering with the text, getting to do continual rewrites. His wife is played by Susan Hayward who is alert to the truth of Saxon’s personality. The other central character is a singer, played by Audrey Totter, who is in love with Saxon.

The film is certainly an interesting character study, audiences continually aghast at Saxon and his behaviour, his comments, his treatment of people, leading to betrayal, lies, his being unmasked by the central characters but at the end of the film, starting all over again with a new playwright.

One of the best scenes involves Audrey Totter with Saxon directing her in a nightclub as to how to get the most effect from her singing and her presence. It does give an indication that Saxon does have some genius talents. And, later in the film, Audrey Totter has the opportunity to perform the song again.

The film was written and directed by Claude Binyon, former journalist, writer of a number of light Hollywood films during the 1940s.

1. The title? Expectations? Charm as attraction? Charm as casting a spell, evil spell?

2. Postwar US, the 1940s, drama, characters, the world of the theatre, agents, writers?

3. New York, black-and-white photography, apartments, clubs, theatre? The water and the island? The yacht and travel? Mexico, the club? The musical score?

4. Eric, his war service, the success of his novels, his first play, the focus on Moliere? His love for Janet? Their life, hopes?

5. Robert Montgomery as Saxon, a sinister and ingratiating performance? Saxon and his reputation, theatre, producer, director? His collaboration with his staff, Hermie and his absolute devotion? The secretary – and her leaving after not being paid? The gradual revelation of his character, arrogance, presumptions, absolute commands, time and appointments, overriding people, imperious behaviour?

6. Eric and his hopes, the interview with Saxon, waiting, unsure? His being summoned, discovering that he was approved, the presence of the producer and his wanting to make money? The invitation to the club, for Janet to come, Alma’s presence? The producer and his blonde wife and expectations? Saxon and his behaviour at the restaurant, throwing things on the floor, walking out? The embarrassment for everyone?

7. Eric and his working with Saxon, the number of rewrites, the discussions, the passing of time, the energy? Saxon and his control, ideas, the meetings, the effect? Janet being upset? Invited back and meeting Alma, their friendship? Her warning Eric about Saxon?

8. Saxon and his deals, the current play, directing? Janet and Eric going to the island, the break, swimming? The arrival of the boat? The notices being sent, the play being a failure? The effect on Saxon?

9. Alma, in love with Saxon, pleasant, her singing, the important scene of Saxon directing her how to sing the song with best effect – and her later using it?

10. Saxon, the boat, the interactions with the Captain, the destruction of the boat? Saxon and extravagance and no consequences?

11. Further plans, the betrayals, the promise to Alma to go to Hollywood and his undermining her?

12. Plans for Eric, going to visit the star in Los Angeles, borrowing the large amount of money, the further lies about what it happened there?

13. The actor and the producer visiting Eric, reading the original play, the agreement to produce it? Janet and her intervention, the return?

14. Saxon, living in his own world, exploiting everyone, no conscience, narcissistic? His hypocritical stances – contacting the playwright, his starting the whole process again?

EDIE

UK, 2017, 103 minutes, Colour.
Sheila Hancock, Kevin Guthrie.
Directed by Simon Hunter.


Whew – and applause! The expression and feeling of this reviewer at the final close-up and triumphant image of Edie.

Edie? She is Edith Moore, an elderly widow, her daughter helping her to pack up house and moved to an aged care facility. She is getting ready to go – but, obviously, not at all ready when she visits the place. As she goes through her things, her daughter finding a diary in which Edie expressed her private responses to the hardships of her life, of control her controlling husband. She also finds a picture of a Scottish mountain which she climbed with her devoted father.

She gets a brainwave – one which her family and friends would not endorse, and the audience wonders whether this is a good idea or not. What about going back to that mountain in Scotland? What about climbing it? She packs her bags, take some money, please a message on her daughters and answering machine and takes the train to Inverness.

What seems a momentary annoyance at Inverness Station, a young man and his girlfriend rushing for the train, bumping Edie and knocking her over, turns out to be a happily fortuitous encounter. When the bus doesn’t come for several hours, he gives her a lift, helps her with accommodation because the town is booked out, lets her stay at his house. And the interesting thing is that he is working in a camping shop.

This all happens fairly early in the film so we know where we’re going, we know that we are going with Edie. At one stage, Jonny, exasperated with her says she is like a cranky cow – and then agrees that she is a cranky cow. And, though we are more sympathetic at first because we know her, she actually is something of a cranky cow.

The point is what does one do with one’s life. What choices do we make, especially after living life with its regrets, wanting to change some of life if we could? Should there be a final quest? And, of course, should there be a final quest which is so demanding as an elderly lady camping out, rowing across a lake, climbing a mountain?

Needless to say, the Scottish Highlands scenery is beautiful even if the touch barren. But, as Edie goes on her journey, we are made to feel every step with her, the exhilaration, the physical and mental demands, the beauty, the bad weather – and the relief of finding a hunters hut with shelter and warmth for a night. Will she climbed to the top of the mountain and place a stone on the canyon there as she did in the past? What will John do, initially shamed by helping her for the money she gave him, helping her with the equipment, and the dilemma whether to go to her rescue or not?

Sheila Hancock has been in films and on television for many decades. She is quite a stream screen presence as Edie. Strong-minded and strong-willed, a touch imperious, a touch cantankerous, but a woman who wants to make something of her life.

1. The title, the focus on Edie herself? Sheila Hancock’s performance?

2. The setting, the house, the aged care facility and interiors? The railway station, the train journey? Inverness, the station? The Scottish countryside, the mountains? The town, the accommodation, the shop? And the climbing of the mountain? The musical score?

3. The introduction to Edie, her age, George and his disability, the chairlift, coming down, Edie and her caring for him? Discovering him dead? The effect?

4. Three and a half years later, Edie at 83? A character, strength of character, her appearance? Dealing with Nancy, selling the house, having to move, the visit to the aged care facility, her snipping the flowers with the scissors?

5. Packing up at home, Nancy reading the diary? Edie and her explanation, looking after George, his controlling and domination? Her having no outlet except the diary? Nancy, her upset, walking out and driving off?

6. Edie in the photos with her father, the mountain? The inspiration, the phone call for Nancy, packing up, the money, the train journey, her hesitation, continuing on? At Inverness, being knocked over by Jonny and Fiona? Their picking her up, her grumpy response? Waiting for the bus, Johnnie giving her the lift? The wrong hotel booking? Going to the other hotels and bed and breakfast? Johnnie inviting her to his house, upstairs, the raucous boys? The shop, her buying everything, the young man urging her to take Jonny as a trainer, her agreeing?

7. Jonny, his character, young, stuck in the town, work in the shop, the relationship with Fiona, her going to get the loan, her father, the aim to make the shop bigger and greater? His agreeing to take the money?

8. His taking Edie out into the countryside, explaining the situation, the base camps, getting her to exercise, his exasperation? Her dressing up in the red dress, going to the pub, the locals and their mocking her, her being knocked over, the toilet, taking off the lipstick, her resignation? The decision about climbing the mountain?

9. Her going out, her changing her mind, packing, Jonny putting her out of the vehicle, making her ride the bike, his following her? Persuading her to go? His offering to go with her, her refusal?

10. The drama of going up the mountain? Sheila Hancock doing the action and stunt work herself? Clothes, trek, the boat, the chat with the hiker, losing the oar, drifting to shore? The night in the tent, the light, reading, the music? Jonny phoning her and her reassuring him? The further climbing, the rain, exhausted, losing the tent, dropping the knapsack? Finding the hut, the fire, sleeping? The owner coming back, not saying anything, making the porridge and the tea, drying her clothes, bringing the knapsack?

11. Jonny, concerned, Fiona criticising him, the phone? His decision to follow, finding Edie, encouraging her, helping her up to the top?

12. Edie, on the mountain, steep, the rocks, climbing, looking back down interview? Jonny coming?, Going to the top, her going by herself to the cairn and placing the stone? The final close-up? Triumph?

13. The impact for a younger audience, for an older audience? Old age and its challenges? The importance of meaning and a quest?

THREE STEPS TO THE GALLOWS/WHITE FIRE

UK, 1953, 90 minutes, Black-and-white.
Scott Brady, Mary Castle, Gabrielle Brune, Ferdy Mayne, Michael Balfour, Colin Tapley, John Blythe, Lloyd Lamble.
Directed by John Gilling.

During the 1950s, quite a number of American actors, many of them on the B-list, went to England to make small films. This is the case with this film and Scott Brady and Mary Castle.

The action takes place over three days, Scott Brady portraying a sailor who discovers that his younger brother is about to be executed for murder. He is determined to follow clues to find out the truth – which, of course, he eventually does.

The first lead is through Mary Castle present at a travel agency where his brother was said to have worked. This leads to a nightclub and the revelation of its being the centre for diamond smuggling. The police are also investigating and don’t reveal all the information to Brady. He befriends a boxer, a genial man who turns out to be part of the gang. There are several killings and the mystery of who was behind the whole project.

Mary Castle brings her father to London as he has been involved with a gang. He becomes something of a bait for the gang and there is a big climax at Olympia during an exhibition with the revelation that the lawyer for the accused young man and his wife, who acts as a secretary, are the brains behind the whole scheme.

The film was written and directed by John Gilling who made a number of small features like this while, in the 1950s, moving into horror genres.

1. British supporting feature of the early 1950s? The use of American leads? Supporting British character actors?

2. The London settings, streets, traffic, clubs, shops, an authentic feel of the time? The musical score?

3. The title? The three days of the action, Stevens’ brother and his execution date? The meaning of the alternate American title?

4. The introduction to Gregor Stevens, sailor, reliable, going on leave, searching for his brother, no record of him, going to the travel agency, going to the club? His learning the truth about the murder, his brother arrested, due to be executed, going to see Winslow, discussing the case, Lorna as his assistant, arranging the visit to his brother? His plea of innocence, explanation of what happened to him?

5. Meeting Yvonne at the travel agency, meeting her again at the club, her singing in the club, her dealings with Satargo, the truth about her father, the smuggling, her being forced to be involved? Interest in Stevens, deciding to help him?

6. The club, the cover for the smuggling, Satargo and his interactions with Stevens?

7. Yvonne and bringing her father to London, trying to protect him, his suspicions, the information?

8. The police, detective work, seeming hostility, later revealed that they were involved in investigating the case, not giving leads away?

9. Stevens, his character, involvement with thugs, the pursuing and bashing him? Relying on Yvonne? Suspicions of Lorna? Yet no suspicions of Winslow?

10. The boxing club, friendship with Dave Leary, the sparring, his humour, help, hiding Yvonne’s father on the boat, the discovery that he was part of the racket? The violence in
the car?

11. The setup, Stevens going to the office, the crippled man, the cleaner, the setup, Satargo being found dead in the office?

12. Stevens going to Winslow, Winslow and the police? Yvonne, going to the registry, finding Lorna’s identity, married to Winslow?

13. The climax at Olympia, hiding Yvonne’s father, the dangers, the thugs, snipers? Stevens arriving with Winslow? The truth? His being the brains behind the smuggling?

14. The shootout, the brother being free, Stevens’ return his boat – and Yvonne appearing and the fadeout kiss?

PARIS UNDERGROUND/ MADAM PIMPERNEL

US, 1945, 97 minutes, Black-and-white.
Constance Bennett, Gracie Fields, George Rigaud, Kurt Kreuger, Leslie Vincent, Charles Andre.
Directed by Gregory Ratoff.

During World War II, there are quite a number of dramas featuring stories of the resistance, Michelle Morgan in Joan of Paris, Jean- Pierre Aumont and Gene Kelly in Cross of Lorraine, both featuring priests played by Thomas Mitchell and Cedric Hardwicke respectively.

This film opens with the Germans advancing on Paris and the population fleeing. The focus is on an American, married to a Frenchman, the marriage rather brittle. She is played by Constance Bennett who actually acted as producer of the film. Kitty has a very British friend, played by the very British Gracie Fields, acting rather than singing as she did in so many of her star vehicles. Kitty delays the departure from Paris by train and they have to drive, getting caught up in the refugees, taking a side road, being apprehended by the Germans and sent back to Paris.

The main drama is in their being asked to help the young British flyer, taking him to Paris, concealing him in the apartment, the German searching for him but their finding a way with the Resistance to take him to the town near the border with the Free Zone and get him across. In fact, there are able to do this for over 200 flyers. And, as with the other films, there is a priest who assists in helping the flyers with the Resistance.

Eventually, the women are apprehended by the Germans, imprisoned and a scene at the end of the film languishing in jail cages, abandoned by the Germans with the Americans coming in with the liberation of Paris.

Eventually, the women are awarded medals of honour by the French government in the person of Kitty’s husband.

The British title of the film was Madam Pimpernel – with nods to the Scarlet Pimpernel and his ability for misleading authorities by his foppish behaviour and, behind the scenes, affecting escapes during the French Revolution.

1. The titles of the film? The fact of the Paris underground during World War II? The suggestions of the Scarlet Pimpernel, disguise, yet rescue work?

2. An American production, French settings, the place of the British, in occupied France, flyers and their rescue? Morale boosting? Yet the liberation of France and the film as a tribute to the war effort?

3. Kitty, separation from her husband, her easy way of life, not believing the Germans would occupy Paris? Her decision to leave? Her friendship with Emmy? British? Her delaying, the phone call to the embassy, the car, caught in the refugees from the city, impatient, on the side road, the encounter with the Germans, directed back to Paris?

4. The encounter with the British flyer, the decision to shield him, in the car, under the suitcases? The encounter with the German officer? His charm? Getting the flyer into the apartments, the role of the landlady?? The visit of the Germans, the thorough search, hiding in the fireplace?

5. The border to the Free Zone? The baker, the money, helping with the flyer, getting across the river? The women, going back to Paris, the decision to become involved, the advertisements, the encounter with the priest, the flyers in the basement, picking straws, going back to the town? The undertaker, the mayor, the clergy, using the conference to get the flyers to freedom? The women deciding to stay rather than escape?

6. The priest, involvement in the underground, the flyers in the cellar? His helping the women, their not escaping?

7. Kitty, going out with the German officer, dancing, the encounter with her husband, his work in the foreign office, his return to Paris, helping Kitty with the soldier?

8. Emmy, British, tough, yet nervous? Her agreement, working with Kitty?

9. The Germans arriving, the hostility of the officer, the search of the apartment, the husband and his escape, Emmy and her being arrested, interrogated, Kitty come out in coming out of the basement, to help Emmy?

10. The years of their imprisonment, the cells fall of women, the freedom, the Americans, Emmy refusing to give information, Kitty finding out, their reunion?

11. The patriotic scene at the end and their being awarded the metals were heroism? And Kitty’s husband and their being reunited?