MANHATTAN TOWER

US, 1932, 67 minutes, Black and white.
Mary Brian, Irene Rich, James Hall, Hale Hamilton, Noel Francis, Clay Clement.
Directed by Frank Strayer.

New York skyscrapers have been popular in films almost since the beginning. There is a fascination for audiences in the picturing of Manhattan, the streets and buildings, the background of business in New York, the range of people who work in the skyscrapers.

This is one day in one such skyscraper. There are many aspects of work but the focus is on business and banking as well as technical backup for the engineering needs of the building. There is some romance. There is a vamp who works as a secretary and goes to parties, mistress of a cynical banker. The banker is in exploiter, no moral values at all. On the other hand, there are some legitimate businessmen as well as some honest underlings. There is also a daffy secretary who provides some comedy – as well as offhandedly leading to a run on the bank.

The camera likes to focus on the building, the exterior, scaling up the walls, information about its height, number of stories. The hero of the piece is an engineer who is in dialogue with the boss and eventually gets a promotion. He is in love with one of the secretaries, Mary (Mary Brian) who was prepared to invest their savings to put a deposit on a home. She works for the cad and he attempts to steal the money.

The cad is unfaithful in his relationships with women, with the secretary, with his wife who wants to divorce him. He has used up all the money. She, however, is in love with the more decent business manager.

There are various meetings and discussions, the daffy secretary thinking the bank is in trouble and hurrying down in the elevator to recover money, her remarks being rapidly spread throughout the city for the run on the bank.

One assistant, a man of integrity, is prepared to resign instead of acting on the cad’s behalf, even contemplating suicide. Eventually, there is a confrontation in the office and the cad, pulling a gun, falls out the window to his death.

There are some pre-Code touches in the moral issues, marriage, infidelities, divorce. But, in just over an hour, this is a day in the Manhattan Tower. The film was directed by Frank Strayer who directed a number of small films, made a great number of Blondie films and, at the end of his career, some religious films.

HYDE PARK CORNER

UK, 1935, 85 minutes, Black-and-white.
Gordon Harker, Binnie Hale, Gibb McLaughlin?, Eric Portman, Robert Holmes.
Directed by Sinclair Hill.

This is quite a bizarre film. It is not necessary to put it on a must-see list. Rather, it is a British curiosity, beginning life as a play with Gordon Harker in the role of the policeman, the role that he takes up in this film.

For the first 20 minutes or so the action takes place in 1780, quite a period piece, focusing on the Bow Street Runners led by Gordon Harker who come to a mansion at Hyde Park Corner where a young fop, Eric Portman, is prepared to continue gambling even to the loss of his house. A rival, played by Gibb Mc Laughlin, is envious of the house and is prepared to cheat to win it, enlisting the help of a cashiered military man who is posing as a captain, Robert Holmes. Harker insinuates himself into the house after knocking out the guard at the door and, eventually, after sleeping, calls in his squad to arrest everyone. There has been an interlude where a popular singer takes over the action, singing, and joins the card players. When the cheating is revealed, there is a sword fight dual (not persuasive at all).

Then, suddenly we are in the 1930s. The same actors in the central roles played characters who are descended from the characters in the 18th century. Gordon Harker is a policeman, called in to investigate a murder, rather full of himself, catching a young woman (who has the same name as the singer in the 18th century), a shoplifter and prosecuter in the court. There is a descendant of the gambler who continues to gamble – and he is accused of murder. The descendant of the cashiered soldier is now a respectable knight of the realm and a lawyer. And the descendant of the villain who wanted to get the house in Hyde Park Corner? He is now posing as the butler – and, of course, he did it.

It is a mixture of knockabout comedy, a court case, an investigation, a final confrontation with guns – and an improbably happy ending.

A curiosity.

INSPECTOR HORNLEIGH

UK, 1939, 76 minutes, Black-and-white.
Gordon Harker, Alastair Sim, Miki Hood, Wally Patch, Steven Geray, Edward Underdown, Hugh Williams, Gibb Mc Laughlin, Ronald Adam.
Directed by Eugene Forde.

This is the first of three light comedy, murder mysteries featuring Inspector Hornleigh and his associate, Bingham. The inspector is played by comedian, often policeman, Gordon Harker. His associate is Alastair Sim, in his mid-30s, already bald, featuring his Scottish accent, capitalising on his ability at a dithering manner.

The film opens with a murder, the inspector at an auction wanting to buy a precious stamp but interrupted by his associate, his going to the scene of the crime, getting the clues. It turns out that the motive for the crime was getting the Chancellor’s briefcase with budget papers. This means a visit to the Chancellor and getting the help of his assistant, played by Edward Underdown.

This leads to a cafe where the Chancellor and his associate had a cup of tea, spilled the tea on the bag – which leads to the conclusion that the bag was substituted in the cafe. The owner is played by Miki Hood, in love with the Chancellor’s associate. The range of suspects at the cafe includes the co-owner and brother, Hugh Williams, desperately in need of money. There is a visiting salesman who turns out to be a private Detective, Wally Patch. There is the manager of the cafe – who definitely looks very sinister, Ronald Adam. Also involved is a financier played by Steven Geray. In the background there is the man who acts as waiter-Butler. He is played by Gibb Mc Laughlin and, as the least likely to be the villain, is, of course, unmasked as the villain.

The murder mystery is interesting with its political overtones. Gordon Harker obviously enjoys himself as the inspector, sometimes imposing on, sometimes supporting, his associate – with Alastair Sim stealing many of the scenes in which he appears.

The film was directed by American director of small budget films of the 30s and 40s, Eugene Ford. There were two sequels.

 

 

 

 

CB STRIKE: CAREER OF EVIL.

UK, 2017, 100 minutes, Colour.
Tom Burke, Holliday Grainger, Neil Maskell, Kerr Logan, Killian Scott, Ann Arkin, Ben Crompton, Andrew Brooke,
Directed by Charles Sturridge.

The Cuckoo's Calling is the first in a television series, CB Strike, based on the novels by Robert Galbraith, the alias for Harry Potter's J.K. Rowling. The other two in the series are The Silkworm, CCuckoo's Calling. Then Lethal White.

The films are very well-written, incorporating the key elements of the novels into a two hour running time. The first film, however, is a bit longer, because it fills in in effective brief detail, the background of the central character, Cormoran Strike, alienated son of a famous pop star, his mother having committed suicide, his being in the military, wounded in Afghanistan and losing a leg, failing in relationship with Charlotte his fiancee, setting up as a private eye in central London. It also fills in something of the background of Robin, who answers an advertisement and becomes his assistant – especially in her engagement to a man who does not approve of Strike and Robin working for him.

Tom Burke looks the part of Strike and communicates his eccentric character, his drive, his drinking, his sometimes slovenly living, but his ability to follow clues, interrogate people, draw conclusions. Holliday Grainger also fits the part of Robin particularly well, their making an odd investigative couple.

In Career of Evil, Strike is comfortable in his work with Robin. She is about to marry her fiance, Matthew, but discovers a relationship from his past. Part of the tension of the film is her upset and the audience wondering whether she will forgive him or not.

Strike himself is under suspicion for the murder of a young prostitute. A dismembered leg has been sent to Robin in the office which leads to the opening up of Strike's work and policing, his investigation and sending a military official who had abused his daughter to jail. This man becomes one of the suspects for the murder. There is also an entanglement with a man who had been involved with a music band and with Strike's mother. And the third is a violent man who married, robbed his wife, is sadistic.

There are some dangers to Robin as she investigates the case, tracking down the identities of the suspects before the police do. Ultimately, various suspects are eliminated and there is a confrontation between Strike and the murderer. Strike also has an associate who is able to track down various suspects as well as to come to Strike's rescue when needed.

Robin gets a shock, as does the audience, when Strikes accuses her of unprofessional conduct. However, he comes to his senses and gets his associate to drive him, speedily, to Yorkshire in time for Matthew and Robin's wedding.

The film was directed by veteran British director of film and television, Charles Sturridge.

1. The detective stories of Robert Galbraith/ J K Rowling? Mystery? Detection?

2. The character of Cormoran Strike, age, war, injury, personality and character? His collaboration with Robin?

3. The London settings, an authentic feel of the city? The scenes in other towns, the countryside?

4. The musical score?

5. The opening, the girl getting ready to go out, the apartment, the note, her being killed? Strike at work? Going to the appointment? Under suspicion from the police, watching the surveillance tapes? Robin, at work, the parcel, the leg, her reaction, Strike and the explanations about the leg, the markings, the historical case, Brockbank, the flashbacks to his daughter, the assault? The note and the lyrics of his mother’s song?

6. The interactions with the police, the two inspectors, doing their duty, but doing it slowly? Strike and his interaction with the two offices?

7. The building up of the suspects? Brockbank, his prison term, finding him? Suspicions about Laing/Williams? The interactions with Strike in the past? Whitaker, his relationship with Strike's mother, the discussions, the visit to his mother's grave? The flashbacks to his mother, her death? Whitaker's callous attitude?

8. Matthew, the complications with Robin, the preparation for the wedding, Matthew's confession of the relationship, Robin's dislike of the woman? The break up? The meal with her mother? Matthew and his reaction, asking forgiveness? Robin relenting? The preparation for the marriage? Matthew and his concern about Robin being in danger?

9. The Brockbank story, Robin and her interviews, tracking him down, his identity, his relationships, his partner and her daughter, the partners resentment against Robin, the little girl telling the truth? Brockbank's escape?

10. Laing/Williams? His past, connection with Strike? Robin posing as an insurance officer and getting addresses? His family, his wife, his disappearance, stealing her jewels? His new household, bearded, lame? The revelation that he was pretending to be lame? His apartment? Strike confronting him? The danger, the fight? The material and parts in his
apartment?

11. Shanker, his friendship with Strike, tracking people down, coming to Strike's rescue, driving him to the wedding?

12. The complications of the crime, the motivations, the alternate suspects?

13. Happy ending, the wedding, Strike knocking over the vase, reconciliation with Robin?

 

THE WHITE ORCHID

US, 1954, 81 minutes, Colour.
William Lundigan, Peggy Castle, Armando Silvestre.
Directed by Reginald Le Borg.

This is one of those many dramas from the 1950s, small-budget, that need not appear on anyone’s “must see� list. The film was directed by Reginald Le Borg, a rather prolific director of small-budget films, especially the Joe Palooka series. William Lundigan is rather stolid as an archaeologist exploring Mexico, Peggy Castle, acting something like a femme fatale, though not, as a photographer. Armando Silvestre, who had a long career in Mexican film and television, appears as a local property owner.

The archaeologist is seen at work, reacting badly at being sent a female photographer, their clashes. However, he wants to go south to explore the descendants of an ancient civilisation. He needs the aid of the property owner who is attracted to the photographer and agrees to lead the expedition. There are some complications with relationships, rather unbelievably the photographer falling in love with the archaeologist whereas the property owner seems far more credible!

While the dialogue is fairly basic, as are the performances, the film looks as if it had been mainly shot in a studio and, perhaps, with some desert sequences just outside Los Angeles. However, there is a re-creations of the ancient civilisation and its temples. The Ballet Moderne of Mexico has a lavish musical sequence.

While nothing particularly strange happens, there is an ultimate confrontation with the Mexicans, the chief being accidentally killed, the photographer taken and set up to be a sacrificial offering, the two men in prison, getting free, setting their prison on fire, saving the girl, her opting for the archaeologist and the property owner sacrificing himself so that they can escape.

And that’s it.

JUST BETWEEN US

Australia, 2018, 106 minutes, Colour.
Deanna Ortuso, Joanne Nguyen, Calista Fooks, Kaarin Fairfax, Clayton Jacobson, Isobel Henry, Samantha E. Hill, Andy Rhodes.
Directed by Christopher Kay.

Although directed by a man, Christopher Kay, this film is a women’s film, written by Deanna Ortuso who plays the central role, also starring the producer, Joanne Nguyen as Trixie.

The film opens in Adelaide, travels through the countryside on its way to Sydney, with tourist pictures of Sydney and then a resolution along the coast.

Deanna Ortuso plays Hannah, shy and retiring, awkward at work, mistiming her responses, especially to the men at work and invitations to a party. Trixie, with Vietnamese background, has been adopted into the family. However, another sister, Bee, has died.

The film is also a ghost story, with Bee materialising, confronting Hannah and her being upset, challenging Hannah about her life and its lack of meaning. She urges Hannah to go on a quest, to a lighthouse and to come out of herself and make something of herself.

So, the film is a road film, Hannah and Trixie on their way, Trixie the more extroverted, urging Hannah on, and Bee continually reappearing and becoming part of the drama. There are various adventures along the way, the women’s football match, Hannah (continually being hit on the head by accident) breaking her teeth, getting them fixed by an attractive dentist, out on the town with him, spending the night with him while Trixie spends the night with one of the football players.

And so, on with the journey, the screenplay fills in the background of the two women and their family.

There is a change of tone when they arrive in Sydney, being ushered into a lavish hotel and into the best rooms only to find that there has been a mistake in their identities and, while they are abducted, and pressure put on them, it is erroneous – and the two women are able to effect their escape.

After a falling out with Trixie, a family argument, and with the urging of Bee, Deanna does find the lighthouse, finds something more in herself, reunites with Trixie – and, probably, is able to start something of a new life.

1. The title? Australian characters? Comedy? A film about women?

2. The opening in Adelaide, move into the countryside, the vistas of Sydney? The look of the film, the field, the musical score (and the karaoke sequence)?

3. Hannah’s story? The background of the family, Bee, Bee’s death? The family adopting Trixie? The effect?

4. Hannah at work, awkward, looking at the men, the possibility of a date or not, her refusing? Going home, herself, the reclusive life?

5. Bee as a ghost, her appearance, talking, the clash between the sisters, Bee wanting to help, urging Hannah on her journey, pilgrimage, to find herself?

6. The journey, in the car, the countryside, the variety of incidents, awkward moments? Hannah being prone to be hit on the head?

7. Trixie, the place in the family, her Asian background, adoption? The relationship with Hannah? Their travelling together?

8. Visiting the auntie and uncle, the presence of Meryl? The welcome, boisterous, going to the karaoke, Meryl’s showstopping performance?

9. The football match, the atmosphere, the play, the barracking, Hannah and the hit, her teeth, going to the dentist, going out with him, the karaoke, going home, the sexual relationship? Leaving? The comparison with Trixie, the footballer, their going out, spending the night together?

10. Continuing the journey, the quest, arrival in Sydney? Going to the hotel, the booking in Trixie’s name, the mistake? The concierge, his contacts? The lavish hotel room? The mistake, their being abducted, held?

11. The car, the escape, and leaving, the clash with Trixie? The return, the Lighthouse?

12. The conversation with Bee throughout the film? Bee present at the end, her bequest in Hannah getting her freedom and self-confidence?

13. A story about finding oneself and moving to the future?

BELIEVER

Korea, 2018, 123 minutes, Colour.
Seung-woo Cha, Jin- Woong Cho, Jun- Ueol Ryu.
Directed by Haeyoung Lee.

There are some themes of belief mentioned in the film, and belief in oneself, a belief in one’s mission.

This is a police investigation film, a remake of the Hong Kong film, Drugs, by renowned Dir Johnnie To. Everything is transferred to Korea and its atmosphere, the cities, the business world, the world of drug deals, police investigations and undercover activity.

The focus of the film is on a middle-aged detective, long committed to uncovering the drug cartels but failing. He is given a last chance and works with a team, of men and women, in investigations as well as his going undercover and meeting with the various drug lords.

There are a number of deaths, the warehouse being burnt down but a young man surviving. He is a quiet young man, well-dressed, an underling go-between in the dealings. He is persuaded to help the detective and becomes very involved – but, he is key to the revelation about the mysterious Mr Lee who is never seen, organises the deals, the manufacture of the drugs, gives orders to underlings. A number of people claimed to be Mr Lee but eventually he is unmasked. Very surprisingly. Although, many audiences may have built up suspicions throughout the film.

1. A Korean thriller? Gangster thriller? Police investigations, undercover? Remake of the Hong Kong film, Drugs?

2. The Korean atmosphere, the cities, police precincts, offices, warehouses, socials, apartments? The musical score?

3. The focus on Mr Lee, the arch criminal? The mystery of his identity? The various claimants to his identity? Not seen, people accountable to him, his instructions, deals, drugs, manufacture, the go-betweens? His empire?

4. The portrait of the detective, his age, experience, the long quest to uncover the criminals? His ingenuity? Discussions with his superiors? Their questions, their trust? His character, infiltration, his acting style and skills?

5. The team, his assistants, the bonds between them, their work, the raids, the dangers? Deaths and injury? Men and women in the team?

6. Mysterious deaths, the millionaire and his alleged suicide, his assistant, her glamour, style, talking to the police, her being poisoned?

7. The fire in the warehouse, the destruction, the young man surviving, his mother, in hospital, going to see his mother? His story, adopted, his skills, injuries, the discussions with the detective, his being willing to help?

8. The young man, his character, personality, quiet, well-dressed, subservient, issues of trust, obeying orders, the detective using him, his activities, investigations?

9. Park, the go-between, an underling, violence, his smirk, his treatment of the young man, his suffering violence, misled?

10. The industrialist, his empire, his sons, the son who went to the US, his return, eliminating his brother, his manner, with the detective, whether he was Mr Lee or not? The violence?

11. The young man, his emerging, his presence, always helping, but… The revelation of who he was, his managing of everything, his escape?

12. The detective, opening with the driving in the snow, finishing in the snow, the road, the house, the confrontation with the young man, the camera going outside, withdrawing? Hearing shots? Who was shooting, shot?

THE LEISURE SEEKER

Italy, 2018, 114 minutes, Colour.
Helen Mirren, Donald Sutherland, Christian Mc Kay, Dana Ivey.
Directed by Paolo Virzi.

While the film focuses on an elderly married couple, the Leisure Seeker of the title is actually their rather old caravan. There is a sense of tension at the opening when William, the son of the couple, and his frantically searching for his parents only to find that their house is empty.

No need to worry – or, perhaps, many reasons to worry. Under the guidance of Ella, Helen Mirren with a South Carolina accent, she and her husband John, Donald Sutherland, driving out of their Massachusetts town, going on vacation. Their son William (Christian Mc Kay) is more than worried. Their daughter, Jane (Janel Moloney) is concerned. Ella phones from time to time, not revealing their location, trying to reassure her children. In fact, during the journey, the film returns to the children and their discussions and worries. Their mother has terminal cancer but refuses treatment. Their father is suffering from increasing senility.

On the one hand, this road story is presented as “realistic� but, there are many episodes that somewhat defy realism, especially John’s capacity for driving and Ella’s capacity for keeping going. On the other hand, if the story is seen as something of hopeful imagination, it works much better for the comedy and the drama.

Starting in New England, the couple drive down the east coast, stopping in Pennsylvania, stopping in Williamsburg Virginia, making their way south so that they can visit Hemingway’s house in the Florida Keys. John has been a literature Professor. A major part of his memory consists of the works of Hemingway which he is able to quote, discuss with those waiting on him at diners or anyone who offers friendly attention, appreciating the insights of American literature. Ella, on the other hand, tries hard to keeping focused, sometimes getting impatient, at other times very tender with him, drawing him back to reality, continually showing slides at their caravan stops, reminding him of their past and of their children.

Ella continues to chat – which, despite Helen Mirren doing the chatting, is sometimes wearying. John continues to wander, an amiable man although, at one stage, he unwittingly reveals a past betrayal.

There are quite a few entertaining incidental characters, at the diners, at the caravan camps, at an old people’s home (with a brief cameo by an irascible Dick Gregory).

The purpose of the journey is, of course, to recapture the past for one last time. And so, to how Ella will handle the end of the journey. In many ways, they are both terminal and she makes decisions about this. Not everyone will agree with what she does but, in terms of a humanist society, she acts in accordance with her feelings and her conscience. For those who disagree with her, it is a challenge to appreciate and understand her perspective.

This is a film for mixed reactions. Some older audiences will identify with the characters, their long lives and their long love for each other, this last journey. And the talent of the two stars and happiness as well is the pathos the of their interactions enhance this. Other audiences may find the film difficult, maybe making comparisons with their own lives and being somewhat exasperated by this journey of Ella and John.

1. The title? Ella and Jon? The van itself? The purpose?

2. An Italian director, his perspective, on the United States? The international actors? The universal issues?

3. The film as a road trip, Massachusetts, Pennsylvania, Virginia, South Carolina, Florida? An overview of the East Coast of the United States, the places, caravan parks, people, occupations? The musical score?

4. Issues of age, senility, managing illness, managing Alzheimer’s? Terminal cancer? Doctors, medication? Stubborn patients?

5. The opening, Will and the truck, his anxiety, going home, meeting with Jane, the parents missing, the discussions and concern, discussions with Libyan? The police? Ella and her phone calls, Will and his anxiety, reactions? Jane and more reflection, calmer?

6. Ella and John, their age, the title of the van, the destination, reliving the past holidays, and Ella wanting to be provocative for John’s memory? John and his driving, skills, the police stopping them? Stopping at the service stations, the diners, those waiting at tables? The caravan parks, going through Williamsburg and the display? The luxury hotel? Home for the aged? On the highways? The scope of the travel?

7. Themes of marriage, love, Ella and her memories? The memory of Dan, John being critical, visiting him in the aged person’s home, the discovery that he was black? The passing of the years? The children, their support, John and his love, professor, love of literature, meeting the students, popular? Hemingway and literature? His memories, reciting chunks of Hemingway? Different times, Ella as young? The drama of the story about his relationship with Lilian and its effect?

8. Will, the suggestion that he was gay? Jane, the husband, the children?

9. Ella showing John the slides of the various caravan parks, the children, the memories, his delight? The people joining in and watching?

10. Lilian, the neighbour, friendship, in the photos, the two women as young? The revelation of her story, the affair? Ella’s angry reaction?

11. Ella trying to be patient, impatient, at times exasperated, the issues of medication, her being sick? John and his reactions, wandering and her searching for him?

12. After the Lilian revelation, her dumping him in the home, the change of heart, returning and collecting him?

13. The build-up to her decision, the moral issues, a humanist solution, her decision and the medication, the gas in the van, the letter to her children? Their response?

14. Themes of ageing, illness, memory loss, suicide?

ADRIFT

US, 2018, 96 minutes, Colour.
Shailene Woodley, Sam Claflin.
Directed by Baltazar Kormakur.

The title is very plain. This is a film about a battered yacht adrift in the northern Pacific Ocean. There have been a number of films in the adrift brain, about a decade ago several with people drifting in danger of shark attacks. In more recent times, Robert Redford was All at Sea, and Colin Firth was attempting a round the world record in Mercy.

This time the person adrift is Shailene Woodley, Tami Oldham, who does appear as herself at the end of the film, the film based on a true story.

Tami had a hard upbringing in San Diego but left home and became a very happy-go-lucky young woman, happily drifting around the world from temporary job to temporary job, finding herself in Tahiti. However, the film opens with the disaster for the yacht, her coming to consciousness, and searching for her partner, Richard Sharp, played by Sam Claflin.

The film goes into flashback, establishing Tami’s character, her chance meeting with Richard, their enjoying each other’s company, a growing bond, falling in love – shown with quite some tenderness.

The structure of the film is that it keeps moving backwards and forwards, keeping the tension about the yacht being adrift in balance with the background story and the romance.

Richard is asked by a wealthy couple to sail their yacht to the United States and he agrees, especially with Tami as his partner.

It is only at the end of the film that we actually see the vast storm that wrecks the yacht. In the meantime, we have very strong leading character, a strong female character at sea, with the physical strain, the psychological strain, the emotional strain that keeps her going for more than 40 days adrift. But, she is sustained by her relationship with Richard, her working with him, her caring for him.

Stories about people adrift at sea may not have a great appeal to non-sailors. However, Icelandic Dir Baltazar Kormakur retains the tension between the past and the present, has great admiration for Tami and her story.

1. The title? Literal? Based on a true story?

2. Stories of survival at sea, human spirit? The role of hallucinations and moral encouragement?

3. The structure, intercutting of Tami being adrift, the background story?

4. The locations, the Pacific, the sea and its moods, the quality of the photography? The musical score?

5. The yacht, the interiors, exteriors? Views of sailing? The experience of the storm?

6. The introduction, Tami adrift, Shailene Woodley and her screen presence? Her age, behaviour, waking, the situation of the yacht, the water, having to cope, strength, ingenuity, knowledge? Her imagination? Richard, rescuing him, caring for him? Supplies of food and water? her calculations? Richard and his wounds, sewing her own wound? Being vegetarian, spearing the fish? Eating the fish? The flares, the boat in the night?

7. The indication of so many days adrift? Richard, the rescue, on the deck, his wounds, his talking with Tami? His disappearance?

8. The past, Tami and her life in San Diego, her mother at 15, her father? Richard, the death of his mother? Naval background? Tami taking off, finding herself in Tahiti, the odd jobs, her talking to the official, staying indefinitely? Richard arriving, his help, the bond with him? The attraction, the outings, the discussions, jumping off the cliff? Lyrical, romantic?

9. Richard, strong character, sailing, his going around the world? The bond with Tami? In love?

10. The prospect of taking the yacht to San Diego, the discussions with the owners, the fee, the promise of the ticket? Tami going with him?

11. The build-up of the voyage, working the boat together, bonding? The proposal? Coping with the difficulties, the storm, the cyclone warning?

12. The storm and the destruction coming at the end of the film?

13. Tami, adrift, the image of the bird and the indication of land? Her coming ashore, the rescue?

14. The memory of Richard, her survival?

15. The actual Tami, photos, video clips, her continuing to sail?

EL PASO

US, 1949, 103 minutes, Colour.
John Payne, Gail Russell, Sterling Hayden, George "Gabby" Hayes, Dick Foran, Eduardo Noriega, Henry Hull, Mary Beth Hughes, H.B.Warner, Bobby Ellis, Arthur Space.
Directed by Lewis R. Foster.

El Paso is a Texas Western. The film begins at the end of the Civil And the return of the troops, especially Clay, John Payne, who had been a lawyer. The young woman he had been attracted to, Susan, Gail Russell, has gone with her father to El Paso. A document needs to be signed by the judge and so Clay goes West.

El Paso itself is fairly lawless. On the stagecoach they encounter a young woman who cheats them of their wallets, Mary Beth Hughes, and an old salesman offering some comedy, played by George “Gabby� Hayes. Sterling Hayden plays the heavy of the town, head of a group who are taking over the land, some of which was allotted to the past Confederate soldiers. There is a corrupt sheriff in the town and they keep the judge drunk.

There is confrontation between the lawyer and the controllers, some killings, some trials (with George Hayes having to keep the judge sober until he appears in the court). The man accused of murder has fled across the river into Mexico were a sympathetic rancher gives him refuge as well as teaching Clay how to shoot.

In many ways, the film is very tough. The judge does his duty but is eventually killed and dragged through the town by a horse. Clay’s grandfather, H B.Warner comes to El Paso to urge Clay to mediation because Clay and his associates have become vigilantes, vengeful in their action, even killing a religious minister by mistake.

Ultimately, this advice is followed and there is some kind of peace in the town.


1. A post-Civil War drama? The Texas Western?

2. The title, an outpost, the Mexican border, the history of Texas and Mexico? Confederate soldiers and landowning? The wheeler dealers on land management? The role of the law?

3. The initial atmosphere of Charleston, mansions, society, the law? The contrast with the travel to Texas? The soldiers along the way? The prospect of Indians? The town itself, rough, the saloon, the shops, the properties? The countryside, the mountains and vistas, the river, Mexico? The musical score?

4. The introduction to Clay, the end of the war, Confederate officer? Going back to the law? The influence of his grandfather? The memory of Susan Jeffers, she and her father in El Paso? His travel to get the signature of the judge?

5. The Stagecoach, the encounter with Pesky, Pesky providing humour? His comments, salesman, entrepreneur but always being taken in? Stagecoach Nellie, charm, the swindle with the wallets, giving the wallets back but not the money?

6. Clay and his response to El Paso, the confrontation in the saloon, the prisoner, the drunk judge, the jury, swift injustice, the man hanged? Clay and his confronting Donner, the fight, their taking Clay’s clothes, the encounter with Don Nacho, the gun, the new coat from the shop? Clay’s reaction to seeing the judge, his drunkenness, his behaviour in the case? Upholding the law and Clay’s stances?

7. The new coat, going to see Susan, her work in the shop, the customers, pretending that all was well? The father returning, learning that Clay knew everything?

8. The encounter with John Elkins, the challenge to his land, the arrest? The role of Donner, his associates, the brutality of the sheriff? Elkins’ wife and son? His escape, Clay riding the shorter route to the river, Elkins escaping, Clay blocking the pursuit? Donner and the sheriff and their attitudes towards Clay?

9. Clay and his decision to stay, justice for the settlers, the former soldiers? His meeting with the judge, getting the signature with shaking hand? The plan to sober the judge?

10. Pesky, his pots and pans, the furs, the cockfight, the Indians and their taking him in? His commission to sober the judge, taking him out into the country, smashing the alcohol, their having to walk back? The judge ready for the case – but Donner and his men taking him to the saloon, the judge standing firm? Clay rescuing him?

11. Justice, the court, the prosecution and its flimsy stance, no jury? Clay and his quoting of the Texas Constitution? The judge and his decision? Rejoicing? The judge and his self-respect, respect from Susan, yet his being arrested and dragged along the streets of the town? Clay’s grandfather coming – his urging reconciliation and arbitration, his death? Elkins and his wife and their being shot? The harsh realities of El Paso?

12. Clay, gathering the men, Elkins’ son joining, their forming a posse, vigilante action, the boy identifying his parents’ killers, rough justice, hangings? The mistake in hanging the new preacher? The comment that they were as rough as their enemies?

13. Clay, his bond with Don Nacho, learning how to shoot, defeating Donner? Leading the men?

14. The news of the death of the preacher, the reaction of the boy and his mistake? Deciding to follow his grandfather’s advice? Yet the further shootouts?

15. Making peace, negotiations, the role of the law, the pursuit of the sheriff and his men, the being trapped in the river?

16. The triumphant procession at the end, human rights, justice, the central characters – and the Franciscan friar explaining the moral of the film?