THIS IS MY LOVE

US, 1954, 93 minutes, Colour.
Linda Darnell, Faith Domergue, Dan Duryea, Rick Jason, Hal Baylor.
Directed by Stuart Heisler.

This is My Love is a 1950s melodrama, rather typical of the times. The focus is on Linda Darnell as a rather repressed woman, living with her sister who had married the man she was in love with (Faith Domergue and Dan Duryea). The husband has had an accident and is in a wheelchair, quite embittered. The wife works at the diner with Vida, Linda Darnell, helping out.

There are tense sequences at home, the husband complaining, Vida having to work and look after the children, retiring into her room and sitting at her typewriter, creative writing.

She meets an attractive man at the diner, friend of the rather cheerful character who has been engaged to Vida for a long time. He is played by Rick Jason. The complication is that Vida is attracted to him, somewhat losing herself in the attraction. However, he begins an affair with Vida’s sister, leading to her smouldering jealousy.

The husband dies, his wife being blamed and arrested, Glenn explaining to Vida that he does not love her and that he and the sister were breaking off the relationship for the sake of the home.

There is a powerful scene in which provider confronts Glenn, letting loose all her emotions. However, the film ends with her going to the police.

1. A 1950s melodrama? For a women’s audience? Men’s audience?

2. The American town, homes and interiors, the diner and interiors, the club and dancing, the atmosphere of the town? The musical score? The importance of the theme song, the tone and style of the period? Romantic?

3. The opening, Vida and her writing, the typewriter, the capital letters, the melodrama? Audience interest in her, sympathy? The taunts by Murray, his being in the wheelchair? The background of his relationship with Vida, his abandoning her, with Evelyn, dancing? His accident, his bitterness? The family, the children? Opening the diner, the two sisters working there? Vida and her sense of isolation?

4. The flashbacks, the scenes at work in the diner, the two women, their bonds, yet Vida is remembering Evelyn taking Murray from her? At home, Murray and his taunts, her looking after the children? The customers? Eddie and the engagement, yet his simply driving her home?

5. Glenn, friend of Eddie, at the diner, charm, Vida attracted, changing her life, her attention to him, his taking her out, the apartment, her interpretation of this approach, going home? Glenn and his attention to Evelyn, her going out with him, coming home late, Murray and his suspicions, Vida covering for her? With Eddie? Turning the clock back to help Evelyn?

6. Evelyn, in love with Glenn, finding life hard at home, the interactions with Murray? Confiding in Vida, wanting to leave with Glenn? His coming, taking her out? His using Vida as a cover, the rapturous response, his plain talking to her, the impact on her feelings?

7. Vida, the intensity of her feelings, the poison, killing Murray? Her cover, the seeming innocence, her response? Evelyn, the arrest, the role of the police?

8. Glenn, talking to Vida, his basic indifference towards her? Telling her that Evelyn and himself were intending to break the relationship for Murray’s sake?

9. The scene of Vida, her outburst against Glenn, her feelings let loose – and then her giving herself up to the police?

THE ECHO OF THUNDER

US, 1998, 93 minutes, Colour.
Judy Davis, Jamey Sheridan, Lauren Hewitt, Ernie Dingo, Chelsea Yates, Michael Caton, Emily Browning, Jamey Croft, Bill Hunter.
Directed by Simon Wincer.

The Echo of Thunder is based on an Australian novel but the film is a Hallmark Channel film for an American audience, and then the world audience. The novel is called Thunderwith, the title of the dog in the film.

It was directed by Simon Wincer who made a number of Australian films including The Light Horse men, Phar Lap, it The Cup, and many films in the United States.

The film focuses on a family who own a property for growing palms, those which adorn hotels… The father is Larry, played by American Jamey Sheridan. He has been married previously, his wife leaving him to go on a singing career and taking their daughter. At a low point in his life, he encountered Gladwyn, married her and had three children. She is played in her typically idiosyncratic way by Judy Davis. Lauren Hewitt is attractive as the older daughter who comes into the house. Emily Browning in an early role plays the sympathetic young daughter, Opal.

The film is a family film, the family having to cope with the arrival of the teenage girl, the mother and the older daughter being opposed, the father glad to have his daughter back. However, he has to go to the Northern Territory to get a signature which will help with a loan for extending the property. The women and girls have to cope during his absence. There is also a hostile boy who bullies the girls.

There is a good local supporting cast including Ernie Dingo as a teacher about aboriginal affairs, Jamie Croft as the bullying boy with Michael Caton as his father, and Bill Hunter as the man in the Northern Territory.

Judy Davis helps to make this entertainment above average.

1. A family film? For family audiences? Made for the American audience? Australians, worldwide?

2. The locations, the Australian bush, home, palm plantation, the cliffs, the sea? Towns, streets and offices? The musical score?

3. The title? The focus on the dog? Its name, Thunderwith? Becoming Lara’s friend? The death, the burial?

4. The situation of the family, the business of growing palms, the hard work, the expertise? The financial difficulties? Needing the loan to expand? Larry, Gladwyn as his second wife, the three children, his past marriage and his wife abandoning him, taking their daughter? His regrets? Memories? Building a new life?

5. Larry, his strong character? Gladwyn, a Judy Davis performance? Her appearance, gaunt, nervy? Her love for her children, protective? Collaboration with Larry and the work? Pearl, her age, edge? The contrast with Opal, friendly towards everyone? Jasper as the little boy?

6. The news that Lara was to come? Larry and his reaction, glad to have his daughter? Gladwyn and her resistance? Pearl and opposition?

7. Lara, her age, character, love her mother, her mother’s cancer and death, memories of her father, the mother leaving, her singing career, in the United States, the silver dollar gift? Lara reluctant to come to the family? Larry picking her up, Gladwyn being very formal, Pearl hostile, Opal immediately friendly and welcoming?

8. Larry having to go to the Northern Territory to get the signature, the Northern Territory sequences, landscapes, Larry driving, the horses and the corral, meeting the Bush man, getting his signature? The significance of his absence for the family?

9. Lara, on the balcony, the treatment by Gladwyn, Pearl being nasty, the contrast with Opal? Going to school, the hostility from Gowd, wanting the dollar, Pearl’s urging, the confrontations, Lara refusing, burying the dollar, Opal sharing secrets? Lara hiding the dollar in the towel, missing, Opal finding it, burying it again, their secret? Gladwyn urging Pearl and Lara to confront bullies?

10. The teacher, at school, aboriginal background, the history of the aboriginal people?

11. The continued work, Lara’s feelings, Gladwyn helping people to steer the car, Lara’s later driving to the hospital? Gladwyn and the injury to her leg, hospital? The children’s reactions? Going to the office for welfare, Lara overhearing Gladwyn’s comments about her not staying?

12. Lara, going to the cliffs, finding the dog, naming it, bonding with it?

13. Larry and his return, Lara feeling unwanted, packing? Out with the dog, Gowd and the confrontation, with the gun, Larry previously telling Gowd’s father about the gun? Gladwyn witnessing the confrontation?

14. Gladwyn, the story of her mother and her death, orphanages? Apologising to Lara? Lara staying? A happy future?

THE SILENCERS

US, 1966, 105 minutes, Coloour.
Dean Martin, Stella Stevens, Daliah Lavi, James Gregory, Victor Buono, Arthur O’ Connell, Robert Webber, Cyd Charisse, Nancy Kovack, Roger C. Carmel, Beverly Adams.
Directed by Phil Karlson.

The Silencers is the first of four films starring Dean Martin as a super-agent, Matt Helm, an American James Bond. There were several US answers to the James Bond series, including James Coburn as agent Flint.

This film capitalises on Dean Martin’s laid-back personality, difficult to imagine him as the agent even though, towards the end, the screenplay gives him a few action sequences. But, he is very much preoccupied with women and sex. In fact, the credits sequence is much more suggestive than many in later years, dancers and provocative striptease. However, the credits finish with a dance by Cyd Charisse who also appears later in the film, another dance, but also shot as she passes on secret roll of film. In many ways, these dances by Cyd Charisse are campy versions of what she did so well at MGM in the 1940s and 1950s.

The 1960s was a decade with nuclear apprehensions as well as Cold War confrontations, especially with Russia. These are some of the themes in The Silencers. However, the villain is mysteriously Asian and played by Victor Buono. Arthur O’ Connell, Robert Webber and Roger C. Carmel play American villains.

James Gregory plays the ICE, International Counter Espionage, Director. He played the same role in other films of the series.

However, the leading ladies are important. Daliah Lavi portrays Dean Martin’s partner and then traitor. Stella Stevens begins with one of those daffy roles she does so well, mishaps everywhere, then under suspicion, then accompanying the agent on his travels and then participating in the climax.

The film was directed by Phil Karlson who had a strong reputation for brief, black-and-white thrillers in the 1940s and 50s. This must be one of the biggest budget he ever had in filmmaking. The other films in the series were Murderers Row, The Ambushers, The Wrecking Crew (also directed by Phil Karlson).

1. The popularity of the James Bond films in the 1960s? Matt Helm as an American version? The 1960s, the Cold War, nuclear issues, enmity with Russia?

2. The visual style of the film, pop, glitz, glamour, sexuality? The credits and the women, the striptease, Cyd Charisse?

3. Dean Martin as hero, the beginning of the series, as a Type, credibility as an agent, the few scenes in action, sex and his relationship with the range of women, clashes with authorities, license to kill?

4. The Washington locations, the headquarters? ICE? Intelligence Counter Espionage? The luxury and the detail of Helm’s home? The countryside? The Cabaret sequences? The resort? The nuclear plant?

5. The musical score, the range of songs, Dean Martin singing and listening to himself?

6. Introduction, the eye, the close-up, the bullets, Matt Helm’s name on them? The contact, the network, Tung- Tze and the nuclear threat, the style of Ian Fleming’s Blowfeld character? The headquarters, his being enthroned, the range of staff, military, experiments?

7. Headquarters, Mac Donald, the phone calls, Helm ignoring them, Tina arriving, memories of the past, liaison, going to action together, the collaboration? Her coming to the house, the vamp girl and her death, attempting to kill Helm? The thugs outside and the confrontation with them?

8. The plot, going to the resort, Gail and her continued mishaps, Gunther and his presence? Suspicions? The information, the role, Sarita and her dance, her death, the message?

9. Gail and the room, the phone, the spray? The effect on Helm? Mac Donald interviewing him? The effect on Tina? Gail and her options, not being believed, being arrested or going with Helm?

10. On the road, the travel, Gail in the car, the continued mishaps, in the mud? Her trying to tell the truth? Going to the town, the service station, the encounter with Wigman? Their being captured? Being taken to the Plant?

11. The deadline, the odds against Helm overcoming the enemy? His equipment, the gun and its effect of this in killing by backfire, Gail using it in the range of deaths? Gunther and his death? The explosive buttons on his jacket? His ability to destroy? The confrontation with Tung- Tze, the chase, his death? The failure of the launch? It crashing in a different destination?

12. Matt Helm, the women – and getting ready for the sequel?

FOXTROT

Israel, 2017, 117 minutes, Colour.
Lior Ashkenazi, Sarah Adler, Jonaton Shiray, Shira Haas, Yehuda, Almagor.
Directed by Samuel Maoz.

This is a very moving film. It is also very sombre.

The writer-director, Samuel Maoz, made the award-winning film, Lebanon (2009). It won an award from SIGNIS (World Catholic Association for Communication). Foxtrot screened at the Venice film Festival, 2017, winning the Grand Jury Prize. It also won a prize from SIGNIS.

Foxtrot seems an unusual title for such a serious film. However, there is a telling scene where the central character enters a building and finds elderly couples dancing the foxtrot. He explains and demonstrates the steps. Later, the son will dance a foxtrot on the road at his desert outpost – and the codename for the outpost in fact is Foxtrot. And, again, later, there will be peacemaking and reconciliation in the dancing of the foxtrot.

This is an Israeli film. The screenplay is in three parts, three acts, the approximately 40 minutes long.

The first takes place over some hours on one day, the military arriving at the door of an apartment with the audience sharing the apprehension of the parents who open the door. The news is that their son, very young, has been killed in the line of duty. The director uses many close-ups, especially of the father, Michael (Lior Ashkenazi in a most impressive performance). The mother collapses. Michael is quiet, quietly panic-stricken, then breaking out in anger and demands. He visits his mother with the news. His brother comes to help. An official comes to explain the protocols for the funeral and the tribute. Then there is other news which will take the audience by surprise.

There is a transition for the second part. The audience is taken out into the desert, the checkpoint on the lonely road, four young men doing their military service there. Nothing much happens. A camel walks by and they lift the barrier, the camel moves through, the barrier is lowered. The young men talk, play computer games, Jonathan, the son from the first part, has a sketchbook. One of the activities is to roll a can from one end of the hut to the other, their speculating that the hut is sinking. There is rain, heavy rain, scenes of watery mud seeping from the road.

As regards activity, a couple is held up, caught humiliatingly in the pouring rain. One of the young men uses techniques of photo identity so that the people can be cleared and move through. Later there is a group of raucous young men and women, though one looks intently at Jonathan. Again the checking, and then something overwhelming happens.

With the third part, the audience goes back to Michael and his wife. There are many close-ups, intense gazing at the face of the characters, feeling their tensions, sense of alienation, exasperation, grief. This part is introduced by an animated segment, bringing Jonathan’s sketches to life, the story of his father, courting his mother, sexuality – and a glimpse of Michael’s mother in hospital, the concentration camp number on her wrist.

As with the other two parts, there is a surprise that the audience could not have anticipated. An explanation that makes sense of the whole story. Tragic sense.

This is a film for an Israeli audience but makes quite an impact beyond Israel. It is a story about a husband and wife, about children and family – and, especially, different ways of coping with death, different ways of living through grief.

1. The impact of the film? Emotions? Sombre story?

2. The title, the dance, the moves and steps, the visuals of the dance with the older people, with Jonathan illustrating the steps, with Michael dancing with Dafna?

3. The structure of the film, three acts, approximately 40 minutes each? The opening and the vehicle going along the desert road, the ending and its meaning?

4. Part one: the news of Jonathan’s death, the military coming to the door, Dafna and her collapse, Michael and his impassive reaction? Definitely given the injection? Michael dazed, then angry, the devastation, aspects of panic? His being given water, the advice to drink every hour, setting the alarm and it’s going off? The officials, doing their duty, Jonathan killed in the line of duty? Michael and his demands, their responses, their not being to blame? The arrival of his brother, helping, touching and Michael’s reaction, Michael reacting against advice to calm down? The brother preparing the death notice? Michael, the tension, fondness for the dog, kicking it brutally? Going to see his mother, her wanting him to tuck in his shirt, checking whether she knew who he was and who Jonathan was? The talking, German, proper, thinking she was talking to his brother? The scene where he came into the hall and the older couples dancing the foxtrot? Alma, the phone call, her arrival? The man coming to arrange the funeral, Michael wanting to see the body, that this was not possible? The new news, the mistake, Dafna very happy, Michael saying she was not herself? His further demands, wanting to see his son’s body?

5. Part two: the outpost, its code name of Foxtrot? Desert, isolation, barren? The squad, the young men, the military service? Jonathan is part of the group? The talk in conversation, the accommodation of the bunks, computer games, Jonathan falling, rolling the can down the floor, talking about the hut sinking? The visuals of water seeping through the soil? The rain? The irony of the camel walking on the road, raising the barrier and lowering it? The irony for what was to happen? Work at the outpost, the couple in the car, being courted, the rain cringing them, the images and the visual clearance? The arrival of the group, cheeky, the serious girl, they’re being cleared, her dress caught in the door, the opening, the Cannes falling out, calling out grenade, the gunfire and deaths? The bulldozer, the deep hole, the bearing and covering of the car? The official coming, his saying that the episode had not happened, their doing their duty? Releasing Jonathan? The men in their discussion about the foxtrot, Jonathan and his steps and his dancing?

6. Part three: the animation, Jonathan sketches, the story of his father? The slow movement in this part, the importance of close-ups, the long silences? Dafna and her making the cake, Jonathan’s birthday, the alienation between Dafna and Michael? Her throwing out Jonathan’s things? The picture of the bulldozer in the car on the wall? Who was the bulldozer, the car, Michael Dafna? Audiences realising the news of Jonathan’s actual death? The tribute, the ceremony, the program, national anthem, coffee and cake? Michael silent, morose, the tensions? Dafna and her isolation? The cigarettes, the marijuana, smoking, talking, remembering the past, the apartment in the centre of the sea? This story, her pregnancy, not wanting Jonathan, the issue of abortion or not, a loving Jonathan, even more than Alma? Their life, becoming closer? Alma arriving, watching her parents, the piece of cake? Alma rebuking Michael about the brutality towards Max? Giving him the cake? Alma, the phone call, leaving? The couple reflecting on death?

7. The animated book, Jonathan sketches, his father story, the visuals of Michael’s mother, her stroke, hospital, the concentration camp number? The six themes?

8. The reality of death, in this Israeli context, military service?

9. The irony the pathos of the camel on the road in the car crash, going over the cliff?

10. The film and its portrait of ways of grieving?

ONCE UPON A PRINCE

US, 2018, 85 minutes, Colour.
Megan Park, Jonathan Keltz, Kayla Wallace, Charles Jarman, Colleen Winton, Sarah Botsford, Marlie Collins.
Directed by Alexander J.F.Wright.

This is definitely, most definitely, one for the Romantics, audiences who like to sit at home watching a story that is contemporary but is really a fairytale. This is a variation of Cinderella.

The film was made for the Hallmark Channel but was filmed in Canada with a Canadian cast (who live in a Georgia setting but pronounce about in the Canadian accent, aboat). American audiences like films about European royalty and, of course, there are strong memories of Princess Diana and, at the time of the film’s release, all the publicity about the wedding of Prince Harry and Megan Markle. (In fact, it does give a bit of an insight into what faced Megan Markle, an American, coming to England with all its protocols and expectations.)

Megan Park is Susanna, an exuberant young woman, plenty of degrees, very smart, but working in her parents’ flower and plant store, aiming to be a landscape architect. She also breaks from her boyfriend – he dumps her. Almost immediately, driving along a lonely road, she has a flat tire and a genial friendly young man, Nate, Jonathan Keltz, stops to help her. Later, he runs into her again, organises her to be interviewed concerning landscaping gardens for his host in Georgia.

And, not only that, when Susanna’s father has a heart turn, Nate drives her to the hospital, offers to work in their store, does so with great diligence, goes to dinner with the family – but, of course, paparazzi! And suddenly, all is revealed in the press. And, it is revealed in the kingdom where he comes from, Cambria, with the Queen not particularly impressed.

Of course, the two fall in love, but it seems an impossible marriage because the tradition in Cambria is that the King has to marry a local woman. His father has died, so Nate is about to be crowned, is expected to marry a young woman in Cambria that he has known for years. He is swiftly brought home, preparing for the coronation as well as the coronation ball.

His minder, John, has observed everything and suggests to the Queen that Susanna be brought to Cambria as an apprentice to the landscape gardener – the Queen hoping that she will make a fool of herself and Nate will see that she is quite unsuitable. She comes, exuberant, rushing in an American way to embrace the King that is the opposite of protocol. She works, Nate has lunches with her, moves her into the guest house with her sister who is even more exuberant than Susanna.

Warnings by the potential queen. Imperious encounters with the actual Queen. Susanna not wanting to go to the wedding but dresses bought by the lady from Georgia, present at the coronation and the Royal oath, everything going nicely but Susanna misinterpreting Nate’s final break with the lady in waiting.

Back to the US, back to work in landscaping, many customers, but persuaded to go to a big old tree that Nate has seen with its tradition of a proposal on knees and the guarantee that the marriage would last forever. Off goes Susanna, there is Nate. And, out from behind the tree come the Queen and John, Susanna’s parents – and happy ever after. Of course, there could be a sequel with life for royalty in Cambria.

SHOW DOGS

US, 2018, 92 minutes, Colour.
Will Arnett, Natasha Lyonne, Omar Chaparro. Voices of: Chris Ludicrus Bridges, Stanley Tucci, Shaquille O' Neal, R uPaul, Gabriel Iglesias, Ronni Ancona.
Directed by Raja Gosnell.

Back in the old days, there was Francis, the talking mule. Then there was that talking horse, Mr Ed. And, since then, lots of films with talking animals, and developing techniques to make their mouths move to make it all the more convincing.

This time it is a talking dog, a strong Rottweiler named Max. In fact, he is on the expert staff of the NYPD. And, he talks to animals and they respond – initially a group of daffy pigeons who admire Max, want to help and, ultimately, succeed. Max is watching a group of criminals, trading in valuable animals and sees little panda in a cage and response to the panda’s appeal.

In the meantime, there is Frank, an FBI agent (Will Arnett), with the potential for being a romantic hero and detective but also prone to accidents. And this is very evident at first with the pursuit of the criminals by car, and Max using his ingenuity and vigour by chasing one of the criminals around the streets.

The head of the New York police is very supportive of Max as are some of the other dogs in the headquarters. Most reluctantly, the FBI accepts that Max will share a mission with Frank at a dog show in Las Vegas, apparently the most prestigious in the world, where Max will compete to be Best in Show.

Lots of dogs in this film – which means that, even though it is aimed at a young audience, parental dog lovers may well be satisfied in contemplating the range of dogs, their style, fussiness, dialogue, performance, preparation for the big show. One of the dogs is French, resentful of his past owner, but deciding to help Max. And, so, the voices are important with comedian Chris Ludicrous Bridges voicing Max, and audiences wondering who this French poodle is voiced by, discovering it is Stanley Tucci.

Of course, there is a touch of romance with Natasha Lyonne as another dog trainer, helping in the ultimate confrontation with the Hispanic villain and his contacts with Ukrainian gangs, Omar Chaparro.

There is a final action confrontation, a tiger on the loose, pigeons in pursuit of a car, the humans and the dogs all combining and combatting for success.

Enjoyable, forgettable, something for the holidays (although, some parents might be wary of the use of guns in the action).

THE SECRET PLACE

UK, 1957, 98 minutes, Black-and-white.
Belinda Lee, Ronald Lewis, Michael Brooke, Michael Gwynn, Geoffrey Kean, David Mc Callum.
Directed by Clive Donner.

The British film industry made many films like this drama during the 1950s, sometimes supporting features, before the transition to television.

The film is a star vehicle for Belinda Lee. She made many films until her untimely death in a car accident at the age of 25. Ronald Lewis is her boyfriend, but a villain. In many ways, the film was stolen by Michael Brooke playing a young boy who is infatuated with Belinda Lee but becomes disillusioned with her after a diamond robbery and his being involved. (Brooke went on to be a QC and later a judge with a strong reputation.) In the supporting cast are Michael Gwynn as the criminal preparing the robbery, David McCallum? as Belinda Lee’s young brother, Geoffrey Kean is the father of the young boy.

The film has strong London settings, an atmosphere of realism. While there is some violence, it is significant that there is an absence of guns and shooting for the solution.

Clive Donner had worked as an editor and this is one of his early films, a career as a director for over 30 years, ranging from What’s New Pussycat, Alfred the Great to Stealing Heaven.

1. British thriller, 1950s style? The suburban London settings, poorer areas of the city? Families? Diamond robberies? Police?
2. The locations, homes, building sites, jewellery offices, police precincts? Authentic feel? The musical score?
3. The title, the robbery, the diamonds, the different hiding places?
4. Molly, the focus, her age, at home, Freddie and his infatuation, her relationship with Gerry, the kiosk, sales? Freddie and his bringing gifts? At home? Her relationship with her mother, with Mike? The reputation in the area? The knowing about the robbery, persuaded to borrow the policeman’s uniform, getting it from Freddie? Returning it? The record player, the songs, giving it as a gift to Freddie? Mike hiding the diamonds? Her going to get it back, it being smashed? Freddie disillusioned with her? Her going to warn Gerry? The encounter with Freddie on the scaffolding, deciding to save him, his saving her from falling? Disillusioned with Gerry, walking away?
5. Gerry, working with Steve and the other robbers, the model plan for the office? His relationship with Molly? Using her, getting the uniform? The difficulties with the driver, not wanting Mike? The robbery itself, the two disguised as police, the secretary, confronting the jeweller, the robbery? The escape? The questions about the diamonds being too hot, recognised? Hiding? Confronting Mike? Confronting Molly? Pursuing Freddie on the scaffolding? His arrest?
6. Freddie, his age, family, with his mother and father, his father a policeman, the little brother? His devotion to Molly, bringing her gifts? Making the belt? The gift of the record player? His being upset, the diamonds in the player, his destroying the player? Mike offering to fix it, Molly coming to get it? His confronting her? His parents concerned about his moodiness? Staying in his room? Gerry watching? Going to the hiding place, going to the railway station, buying the ticket, the seller urging the police to look for him? Gerry finding him, taking him to the building site, the jewels? His escape, the tension of climbing the scaffolding? With Molly? Returning home? The irony of his little brother finding the diamonds, the girls selling them on at a cheap price?
7. The police investigation, finding Freddie, little girls and the diamonds, asking for information?
8. Mike, his connection with Gerry and the thieves, not trusted to drive, his anxiety about the diamonds and the record player?
9. A gritty setting and a realistic story – with tension on the scaffolding but no shootouts and deaths?

THE WHITE KNIGHT STRATAGEM/ MURDER ROOMS

UK, 2001, 90 minutes, Colour.
Ian Richardson, Charles Edwards, Rik Mayall, Anette Crosby, Beatty Edney, Ron Donachie, Anton Lesser, Ronald Pickup, Henry Ian Cusick.
Directed by Paul Marcus.


This is the fifth film in a series made for British television going back over the influence of Edinburgh’s Dr Bell and his work with the young medical student Arthur Conan Doyle.

Ian Richardson, with his sonorous voice and presence, had played Sherlock Holmes twice. Here is Dr Bell. Charles Edwards has a sincere and earnest presence as Doyle. Surprisingly, the investigating officer, later unmasked as villain, is played in a very serious vein by comedian Rik Mayall. There are quite a number of British character actors in supporting roles including Ronald Pickup, Anette Crosby.

The setting is the late 19th century. Dr Bell is called in for investigations but is not officially part of the police force. He shows many of the characteristics of Sherlock Holmes, seeking for evidence, examining clues. He enjoys working with his protégé on the investigations. However, Doyle becomes sympathetic to the police inspector that Dr Bell had humiliated.

The film opens with a suicide in a factory and the plot opens up quite a lot of background to this death. The woman operating the factory has a villain husband who is murdered. Later it emerges that she hired the killer, was in a relationship with the inspector, concealed this although her maid and friend were aware of something. The inspector has been sacked but reinstated, under suspicion from Dr Bell, with Doyle is sympathetic to him because of his wife has had a stroke and has written an expert book on chess. Two men who had made a loan to the owner of the factory are murdered.

The film recreates the atmosphere, is entertaining in the elaborate murder mystery and investigation, foreshadowing Sherlock Holmes.


1. Audiences’ perennial interest in Sherlock Holmes? As a person? As a detective? His methods and style?

2. The series, Arthur Conan Doyle in Edinburgh, as a medical student, his relationship with Dr Bell? Interest in investigation? Learning from Dr Bell about criminality and investigation? His decision to write? Dr Bell urging him to work in medicine rather than writing?

3. The recreation of the period, Edinburgh as a city, the streets, the buildings, factories? Homes? Offices and rooms? The musical score? Costumes and decor?

4. The opening, the factory, the disturbance, the woman falling to her death? Return to the scene later? The explanations of the woman, her death? Her husband and his murder? Mystery, investigated by Blaney, her relationship with him? Her plan for the killer? The alleged relationships with the other men? The loan? The deaths of the men who made the loan?

5. Dr Bell, his work, reputation, age and experience? His friendship with Doyle? His visit to the father of the dead man? His later return and investigating his room? The anger of the father, and his later donation to help those in need of being in an institution? Doyle and his visit to his father in the institution, his father’s outburst, his younger brother, Dr Bell and his interest in the younger boy and the gift of the?

6. Dr Bell and Blaney, their hostility, Blaney and his alleged drinking, his investigation of the murder case, being assigned to the next case, the range of encounters with Dr Bell, animosity?

7. The recreation of the murders, clues, not a common thief, the gloves left behind? The possibility of a female killer? The use of the gloves as a clue? Milburn and his denial, the salesman giving the truth, his admission? His work with Starr, loans, alleged rivalries? His wife and her testimony? Her relationship with Starr? Milburn as suspect, his murder?

8. The story of the cricket game, the man observing, the boy giving the name of Blaney? Milburn and his being ambidextrous?

9. The interrogation of the housekeeper, the maid, their loyalty to the dead woman? The knowledge of a relationship?

10. Dr Bell, his apology to Blaney? Then working out who was the culprit? Doyle and his concern about Blaney’s wife and her stroke? Her book and his admiration? The realisation that Blaney had written it?

11. Blaney, his confrontation of the criminal, shooting him? Accusing him? Dr Bell and the documents, noting the dust on the shelf? Blaney pulling the gun, his elaborate explanation and confession, the threat to the policeman present, Blaney shooting himself?

12. Doyle, the experience of working with Dr Bell, writing, his later career?

THE GARDEN MURDER CASE

US, 1936, 61 minutes, Black and white.
Edmund Lowe, Virginia Bruce, Bernita Hume, Douglas Walton, Nat Pendleton, Gene Lockhart, H.B.Warner, Kent Smith, Grant Mitchell, Frieda Inescort, Henry B.Walthall, Jessie Ralph, Charles Trowbridge, Etienne Girardot.
Directed by Edwin L. Marin.


This is a Philo Vance murder investigation, based on the popular novels by S.S.Van Dine. There were several films with William Powell and Warren William as Vance. In the 1940s, Vance was played by Alan Curtis.

This is an MGM production, from the back lot, with a reference to Garbo in the screenplay, reminding audiences that this was the year of Camille, San Francisco, The Great Ziegfeld. However, along with Edmund Lowe as Vance, a genial presence, there is a very strong supporting cast of character actors, quite surprising in its extent. The film offers the opportunity for audiences to see H.B.Warner in a very different role from King of Kings, as a charlatan, posing as an aristocrat, trying to hypnotise Philo Vance. Frieda Inicort plays his wife.

The main action takes place at a racecourse, introducing most of the characters, Gene Lockhart as an obnoxious millionaire, critical of his niece, Virginia Bruce and her boyfriend, Kent Smith. The jockey, Douglas Walton, behaves strangely, indicating that he has to fall from his horse and break his neck. That happens. Later, at the millionaire’s mansion, everybody is gathered for the investigation. Nat Pendleton does his usual comic shtick as a policeman. Henry B Walthall is the father of the jockey while Jessie Ralph, overacting in her way, is the mother of the millionaire.

There are a number of emerging clues while the audience has seen the effect of hypnosis. There is another murder from a city bus, somebody faking a phone call to an immigration official to get rid of the nurse who is in a relationship with the millionaire.

When Philo Vance is explaining the effect of a python to the niece, he realises the basis of hypnosis and goes back for a long sequence where Warner tries to hypnotise him so that he will fall to his death.

The director made several of the Maisie films and, at the end of his career, a number of westerns with Randolph Scott.

BACK TO BURGUNDY/ CE QUI NOUS LIE

France, 2016, 113 minutes, Colour.
Pio Marmai, Ana Girardot, François Civil, Jean- Marc Roulot, Maria Valverde, Jean- Marie Winling, Florence Pernell, Eric Caravaca.
Directed by Cedric Klapisch.

This is a film to put on the list of French films that are worth seeing. While the English title emphasises the winegrowing area of Burgundy, the French title is more evocative of the themes of the film, Ties which Bind.

Visually, the film is most attractive, opening with a collage of the same view of the Vineyard throughout the seasons of the year. The location photography evokes the world of the Vineyards as well as life in a French town.

It is the characters who hold the interest. Jean offers a voice-over commentary on the events and the characters. He returns after 10 years away, driven away by his dominant father, but returning because of his terminal illness. (Dramatically, it is rather effective to have the reconciliations scene in the hospital placed later in the film, the earlier part concentrating on flashbacks and Jean’s difficulties with his father.) The family have been wine producers. On his return, Jean finds his sister, Juliette, managing the business, the harvest almost ready. There is also the younger brother, Jeremie, who has married a local girl, from a wealthy family and ad insistently dominating father, and they have a child.

Initially, there is great resentment that Jean had left, not made contact for 10 years, refused to come to his mother’s funeral. After an outburst, Jean is able to explain what has happened, his marriage in Australia, the birth of his son, their Vineyard out there.

So, while the timeline of the film shows the decisions about harvesting, the picking of the grapes and the workers who come in temporarily, the pressing of the grapes, the vats, the processes – offering all that any audience might have wanted to know about wine production, and even more…

The drama is interesting in the depiction of the three siblings, the effect of their father’s death, decisions about production, the reading of the will, the joint ownership of the house and the Vineyard, the pressures on Jean to sell his share and go back to Australia, Jeremie and his father-in-law wanting to buy parcels of the land, Juliette and her desire to be an effective wine producer.

There is a strong humanity in the film, audiences being caught up in the lives of the three central characters as well as in the work and the wine production. Pio Marmai plays Jean, and Ana Girardot is Juliette, François Civil is Jeremie. The film was directed by Cedric Klapisch – who knows how to make films about characters living together, bonds, conflicts, with his series of films which began with L’Auberge? Espagnol and was followed by Russian Dolls and Chinese Puzzle.


1. The titles? The focus on Burgundy, the focus on The Ties that Bind? Friends, the wine area, the visuals, the fields, the seasons and change? Location photography, the different domains, the crops, houses, mansions and interiors? The musical score?

2. The processes of wine production? The fields, the vines, the grapes, testing, decisions about harvesting, pressing the grapes, the various stages? The that’s? Tastes and comparisons? Storage over the years, the variety of names of the grapes? So much detail for the audience?

3. The background to the family, the three siblings, the crisis about the crops, property, their father’s death, taxes? The various perspectives? The resolution?

4. Jean, the focus, his age, appearance, arrival, the bus stop and his leaving, his return, after 10 years? The issues of correspondence, letters and phones, non-replying? His father driving him away, his illness causing Jean to return?

5. The voice-over, the presence in the past? The images of the children from the past, the swing with the three children, Jeremie climbing the tree, bedtime, their father, his sternness, reaction, the mother as a shield? The father rebuking Jean? Jean and his bitterness, seeing the visit to his sick father later in the film, his talking of the stress, his father holding his hand? The letter in the pocket of the coat? Jean reading it? The possibilities for reconciliation and forgiveness?

6. Juliette, her life, her father training her, her capacity for work? Her personal life? The staff, the temporary workers, her speech to the workers? The discussion about the day for harvesting, different ideas, listening to others? The capacity for work, with Jean and Jeremie? Her being upset by Marouande? Issues of bosses and orders, her being upset? Gene helping her? At the celebration, drinking, the kiss with Marouane? (And his return for the next season?)

7. Jeremie, the youngest, his wife, his son? His outburst of anger against Jean and his being absent, not corresponding, not at their mother’s funeral? Later getting more information? Working on the harvest? His relationship with Oceane, the son? His father-in-law, the tasting of the wine, the father-in-law and his insisting on everything, the couple living next door, the mother waiting on them on Sunday for breakfast? Their intention to move? The final confrontation with his father-in-law, the strong speech, yet his stammering, returning to Oceane? The issue of spitting the wine or drinking it? Not liking the coffee? Not wanting to look after the spa?

8. The father, his impact in the flashback sequences? His death, his will, the joint ownership, the effect of making decisions about the property and the house? The effect on the three, their handling of their grief? Decisions, positions taken, possibilities, the repairing of the house, people touring, the possibility of selling parcels of land, especially to the father-in-law?

9. Jean, his wandering for 10 years, South America, settling in Australia, his wife and son? The Vineyard? The complex relationship? The phone calls? Juliette phoning and its effect? Mother and son and their arrival, sharing the life at the domain, the boy, the issue of French and English? Wine production?

10. The passing of the year, the recurring images?

11. Jean, having to make a decision, reconciliation with his wife, love of his son? The decision to return home? Jeremie and his wife, the decision to move? Juliette, in charge of the new vintage? Meeting the workers?

12. The role of Burgundy, Burgundy as home, yet Australia as home?

13. A film about wine, sibling relationships, parents and children, harshness of the past, reconciliation and hope for the future?