BIG TOWN AFTER DARK

US, 1947, 69 minutes, Black-and-white.
Philip Reed, Hillary Brooke, Richard Travis, Ann Gillis, Vince Barnett, Joe Sawyer, Robert Kent, Charles Arnt.
Directed by William C.Thomas.


This is the third film in a series, each with a title Big Town. The setting is a newspaper, a focus on two reporters who rival each other but who are attracted to each other. Philip Reed plays the suave reporter, Hillary Brooke the vivacious crime reporter.

In this story, the niece of the proprietor, played by Charles Arnt, comes to town, asks for a job at the paper. She is quite precocious – and is later revealed as something of a femme fatale, linking up with the proprietor of a gambling club, marrying him, trying to blackmail her uncle for a ransom. However, the gambler is the jealous type and is suspicious of his chauffeur.

In the meantime, Philip Reed is attracted by the niece and takes her out, goes to the club, is bashed by the proprietor – returning, suspicious, agreeing that the paper should have a campaign against such gambling clubs. He is threatened by the proprietor, discovers the truth about the young woman, walks into something of a trap, to be framed for murder of the chauffeur by the gambler. And the young woman is wounded – but is taken to hospital and lives.

In the meantime, Hillary Brooke has written a novel, wants time off, goes on some rounds, links with Louis, who hangs around and has many contacts in the criminal world.

William C. Thomas was a prolific producer with his partner, William Pine – nicknamed the ‘two dollar Bills’ for their large output, small budget, good returns.

THREE STEPS NORTH

US, 1951, 84 minutes, Black-and-white.
Lloyd Bridges, Lea Padovani, Aldo Fabrizi, William Tubbs.
Directed by W.E Wilder.

Three Steps North is a brief film made in location in Italy, so many American companies having to use up European finances by making their films in Europe. This film takes advantage of the Italian south, the city of Amalfi, the local countryside.

Lloyd Bridges does one of his typical roles as an American GI who gets caught up with black market activities at the end of the war, buries his money near a tree and three steps North, serving his prison sentence and returning to Italy to recover the money.

There are all kinds of complications, his previous girlfriend played by Italian actress Lea Padovani, a sinister Greek, American criminals in the city, the investigations and suspicions by the local police, by a large detective. There is also Pietro (Aldo Fabbrizi) who is the caretaker of the cemetery and the key to what happened to the money (which, towards the end of the film audience will realise what actually has happened).

Touches of romance and betrayal, American criminals in Italy, police investigations, shootouts.

1. A World War II and post-World War II drama? American military? American support forces? Black market? Criminal activity, prison? The aftermath?

2. The Italian settings, Amalfi, the coast, the roads, the countryside? The town, hotels, the police, the cemetery? The American prison? The musical score?

3. Frank, his story, in the military, driving the truck’s, the black market, the money, the local dealers? His past relationships? Elena?

4. Hiding the money, the tree, three steps north? The authorities, his arrest, the sentence?

5. The decision to return to Italy, associates, the money, passports and documents? Sailing to Naples? Going to Amalfi?

6. His character, covering his tracks, the contacts in the town, suspicions? Meeting Elena again, her anger with him, the response, her contacts?

7. The American criminals in the town, the connections, the threats to Frank? People trying to get money from him? The murders?

8. The police, the investigations, interrogations, Frank and his cover, Elena giving him an alibi? The Greek and his sinister presence?

9. Frank, going to recover the money, the tree, discovering the cemetery? The money gone? His meeting with Pietro, Pietro and his work at the cemetery, the building of the Church? His being interrogated?

10. Frank, his dismay, Pietro and the money, spending an on building the church? Frank’s reaction?

11. The confrontations, the police, the Greek, the shootings, the American criminals?

12. Frank, resigned to his money in the church, meeting up with Elena, a future?

DISOBEDIENCE

UK/Ireland, 2017, 114 minutes, Colour.
Rachel Weisz, Rachel Mc Adams, Alessandro Nivola, Alan Corduner, Bernice Stegers.
Directed by Sebastian Lellio.

Not quite a title that would entice legions of fans into a cinema. But, for those who are interested in the title, this is quite a strong drama with impressive portraits of the central characters. It has been directed by the Chilean director, Sebastian Lellio, who has made an international impression with Chilean stories, Gloria (which he has remade in the US with Julianne Moore) and The Fantastic Woman as well as a significant American story, Jackie, dealing with the First Lady and the assassination of President Kennedy.

The theme is presented powerfully in the opening sequence, a London synagogue, strongly, sometimes fiercely, Orthodox, the men with tassels, vests, hats and Scriptures, the women separated. The old rabbi gives an interpretation of creation, highlighting that angels are pure spirits whose wills are directed to God, contrasting with the beasts who are part of creation but have no will. In the middle are humans, with free will, with the possibility of choice – and with the possibility of sinning, incurring judgement, being disobedient. He then collapses and dies. However, at the end of the film, the rabbi designated as his successor recalls this explanation of choice at the old rabbi’s funeral. By then, the significance of the title and the theme of will and choice has been interestingly explored.

We are introduced to Ronit (a strong performance by Rachel Weisz), a photographer in New York City receiving a mysterious phone call to return home to London. She is the late rabbi’s daughter. It emerges that she has been ostracised by the local community – and it soon emerges why. She goes to the home of the rabbis adopted son, Dovid, Alessandro Nivola, friendly but strict in his interpretation of Orthodox customs, even to women not touching men. Ronit is surprised that he has married – and even more surprised when she meets Esti, Rachel Mc Adams, who was significant in Ronit’s past and is now married to Dovid.

Ronit is very much an independent woman, defying the local critics of her and her behaviour, wanting to sell the rabbi’s house only to find that he bequeathed it to the community. The important part of the drama is Ronit’s relationship with Esti, passionate in the past, the reason for Ronit’s exile, and the dilemma for the relationship now that she has returned to England. While there is pressure on Ronit, there is even more pressure on Esti and her marriage. She is part of the community, happily teaching at a school, but disturbed by Ronit’s presence.

While much of the drama is about relationships, especially about same-sex relationships and the attitudes of the community, the drama is also about independence and – with the reprisals of the rabbi’s initial sermon and the focus on choice, the issue for the resolution of the drama is whether Esti will have a choice.

This is a film of emotion, sometimes passion, sometimes sadness and disappointment – and the dilemmas of obedience, disobedience, constraint, freedom and choice.

1. The title? Expectations? With reference to Ronit, Esti?

2. The opening in New York, photography, the studio, atmosphere, Ronit and sexual relationships?

3. The transition to London, the authentic feel, the streets, the homes, the synagogue, school, parks? Golders Green?

4. The musical score, dramatic overtones, religious overtones?

5. The introduction to the rabbi, his sermon, his comments about the Angels as pure spirits with no choice in responding to God, the contrast with the beasts and their instincts though God created them? Human beings in the middle and the importance of freedom of choice? This theme pervading the film? His collapse and death? David quoting it at the end at his funeral? Freedom for all the central characters?

6. A film focusing on women, their experiences, relationships? The place in Orthodox Jewish society? Issues of relationships, single women, the importance of marriage and children? Lesbian relationships and reactions? Ronit and her relationship with her father, loving him, the rabbi, but his strictness? Her relationship with Esti? Leaving London, leaving Esti? Living her own life, not wanting children, her relationships?

7. Esti, her past, in the Jewish society in London, her relationship with Ronit, Ronit and leaving and her being upset? Ronit and breaking contact with the community? The news of her father’s illness? Discovering that Esti had sent the message? Not know her father was ill?

8. Her return, Dovid welcoming her, the prohibition of women touching men? The strictness? The household? The Jewish religious symbols? The family photos and memories? Ronit not realising that Esti had married Dovid? Her coming to the kitchen, helping with the guests? The invitation for Ronit to stay in the house?

9. Ronit, the experience of coming home, the community, suspicions, the meals, questioning her about marriage and children? Her own independence?

10. Esti, in the supermarket, friendship with the others in the community? Mention of Ronit outside? Her following her? Going into the vacant area, renewing the relationship, the kiss? Their being observed? Esti at school, the class on Othello, the response of the students? Being summoned to the headmistress? Her being denounced? Her reaction?

11. The explanation to Ronit, the going out together, in the tube, the streets, going to a hotel, the passion and the sexual encounter, the consequences?

12. The members of the community, the other rabbis, the rabbi and his wig making company, Ronit and her concern about the house, wanting to sell it? The discussion, the discovery that her father had left the house to the Jewish community?

13. Dovid, asking Esti for the truth? His knowledge of the past relationship? His loving Esti, the sequences together, the sexual relationship on Fridays? The bedroom, the shower? His disappointment?

14. The meal, Ronit deciding to go to the airport, packing, the taxi, Esti’s reaction? At the airport, the phone call, her returning, Esti vanishing, Dovid and Ronit Gromit searching for her? Her appearing again, apology?

15. Esti asking for her freedom? Her being pregnant?

16. The funeral, the celebration, the rabbi asking Dovid to become the rabbi’s successor? His anxious behaviour, being caught out, the beginning of his speech, recalling the rabbi’s last speech, repeating it, freedom of choice? Ronit and Dovid acknowledging her? Ronit and Esti present at the ceremony? Dovid and his loud declaration for freedom, Esti’s freedom?

17. Ronit returning to New York, Esti deciding to stay, separate room from Dovid? Esti pursuing the taxi, the final kiss, letting Ronit go? The future for each of the characters?

SOLO, A STAR WARS STORY

US, 2018, 135 minutes, Colour.
Alden Ehrenreich, Amelia Clark, Woody Harrelson, Paul Bethany, Joonas Suotamo, Donald Glover, Thandie Newton, Phoebe Waller- Bridge, voices of: Jon Favreau, Linda Hunt.
Directed by Ron Howard.

A solo Solo story. So low in early box office returns, a major financial disappointment. Moving away from the wordplay, expectations of any Star Wars film, in the series or spin-off, are very high. But audiences didn’t flock to Solo as hoped for. Some suggested that it was released too soon after the previous episode in the series. Some suggested, and this has a point, that the lack of a strong adventurous female presence meant that it lacked an overall appeal.

But, the focus has to be on Han. And, for those who wondered about his name, Solo, and for those who didn’t, there is a scene where he is leaving his dark planet to enlist in the Empire’s air force and is questioned about his name. He has only the name, Han. And, he is alone – and so the official designates him Han Solo.

Alden Ehrenreich shows some courage in taking on the role. We all know that he has to grow into Harrison Ford, not an easy task for anyone. However, he gives it his best, young, rather cheeky, adventurous, eager for risks.

As regards the plot, long ago in the faraway galaxy, a lot of things are comparatively modern. While young Han is involved in some shady activities and is really attracted to Qi’ra (Emilia Clark), he is quickly involved in a car chase that looks like any other thriller chase only a bit more spectacular and crash-worthy. He is separated from Qi’ra, does his training in the air force, joins in battles – after all this is Star Wars.

However, he is caught up in some confusion and comes to the attention of Tobias Beckett, a space adventure and smuggler, along with his associate, Val (Woody Harrelson always welcome, Thandie Newton unfortunately killed off rather quickly). He joins them in an enterprise which provides the most spectacular part of the film, a raid on the super train, travelling through snowy and icy mountains, often on the edge of the cliffs, turning from horizontal to vertical towards its destination. The group is to steal some chemicals and, with great risks and special effects, they do so but not as intended.

They have been commissioned by Dryden Vos (a sinister Paul Bettany) and who should be in his entourage but Qi’ra. The adventurers offer to do another robbery and Qi’ra is sent to share the adventures with them. Plenty of expected Star Wars stuff here. But, there is something of a difference because Han, at one stage, is thrown down into a muddy pit and forced to fight a seeming monster – who, when washed, turns out to be none other than Chewbacca. A welcome return.

There are some twists in the plot, some goodies are really baddies and some expected baddies who turn out to be goodies – one of them are female warrior but coming in fairly late to the film.

There have to be some betrayals, there have to be some confrontations, the villain has to be thwarted – and, somehow or other those in control of the Empire have to have their say.

Partly a happy ending but, of course, an ending that the film is about Han will not be Solo but we might expect a Duo companion piece.

1. Audience desire for more Star Wars stories? The early history of the galaxies? The story of Han Solo?

2. Long time ago, the galaxies, the range of planets, the central planet and its industry, dark, harsh, life, families and not? The Empire and its influence? Stealing, car chases? Recruitment for the Empire air force? The score, the eventual theme been played when Han and Chewbacca sat in the pilot seats?

3. The background of the administration of the planet, the mixture of strange creatures, Imperial guards, humans? Lady Proxima emerging from the water? Han and his threats, submerging?

4. Han, his age, the, the other thieves, dealings, relationship with Qi’ra, love for her? The elaborate car chase, even to the car on its side? The plan, the airport, infiltrating? The bribe, their being reported, court, harm about to go, his receiving his name, Solo, Qi’ra staying? The effect of the separation on each?

5. Han, the three years of training, in the wars, the battles, his not being good at obedience? The encounter with Tobias and Val, their disguises and uniforms? Being caught? Tobias and the rebuff? At home, thrown into the mud, the prison, the Wookie present, the fight, the mud, the pillar and moving it, getting out? The shower? The emergence of Chewbacca? The bond between the two? Audiences liking this because of the future?

6. The plan, the flight, the creature piloting, being wounded and dying? The robbery, the train through the icy mountains, the spectacle, the train carriages moving on their side driving around the cliffs? The planes, the attack? Trying to get the carriage? The fighters, dropping the carriage? Val dying? The failure?

7. The audience with Dryden, his tower and its height, at the edge of the sea? Qi’ra present? Her being enslaved by Dryden? The society, the touch of decadence, the singer, Tobias warning Han to keep his eyes down? The encounter with Qi’ra, the kiss, the memories? At a distance?

8. Dryden, their fear, his cruelty? The failure, his being indebted to the Empire? Vengeance? Han, his brainwaves, the plan, the preparation for the raid, Tobias, Qi’ra going as well?

9. Lando, his headquarters, playing cards, the range of friends and creatures, Han playing with him, the bet for the plane, losing? The deals, the percentages?

10. The flight, Lando and his pride in his plane, L3–37, the voice, the skills, the machine, not relating well in terms of love! The flight, going through the maelstrom, going to the destination and the planet, the plan to steal, the operation, getting the chemicals, the guards? The fight, L3-37 breaking, Lando wounded, Chewbacca and the rescue? Driving, getting the energy, using the fluid, Tobias and the experiment? Getting the map from L3, the warp travel, landing, confrontation with the warriors, discovering the young heroine and her revealing herself, the oppressed people, the cruelty with cutting out their tongues?

11. The return to Dryden, the pretence, one canister made to look like the real thing? Dryden revealing the betrayal, not Qi’ra, Tobias? His escaping with Chewbacca? Qi’ra releasing Han, his going to catch them, the confrontation, Tobias killed?

12. The images of Han, Chewbacca, the people and the warrior leader?

13. Qi’ra, the farewell to Han, her staying, her enslavement, the death of Dryden, his wing, putting in the machine, contact with the empire? Her watching people go away? Her sinister stands, her future? Sequels?

6 DAYS

UK, 2017, 94 minutes, Colour.
Mark Strong, Jamie Bell, Abbie Cornish, Ben Turner, Martin Shaw, Tim Pigott Smith.
Directed by Toa Fraser.

The six days of the title are those when the Iranian Embassy in London was under siege from terrorists in 1980.

The Islamic Republic of Iran was established in 1979, with the accession of Ayatollah Khomeini. Gone was the period of comparative freedom with the Shah. However, the Republic was very severe with Arab groups in the north of the country, torturing and imprisoning. The siege of the Embassy in London was by a group of Arabs to protest this treatment. It was a demonstration – but no realisation that the British government was not really in a position to negotiate. And, with Mrs Thatcher becoming Prime Minister of England, her stances against terrorism were absolutely strict.

The film recounts the six days with titles. Ben Turner is good as the central terrorist, Salim, who is willing to do some negotiation. The chief negotiator is played, rather quietly but with intensity, by Mark Strong. Jamie Bell is one of the leaders of the SAS who train outside London, are invited to come to the capital, set up beside the Embassy with a reconstruction of the rooms (which have to be corrected by the caretaker). The SAS waits the week, eager for combat, while politicians meet, especially Willie Whitelaw, the Minister responsible, negotiating with Mrs Thatcher. He is played by Tim Pigott Smith and Martin Shaw plays one of the police to be consulted.

The coverage by the BBC was famous in its time and Katie Wade is played by Abbie Cornish.

Direction is by Toa Fraser, New Zealander, who made No 2 as well as Dean Spanley.


1. Action drama? Based on actual events in 1980, London? The Iranian Embassy, hostages and the siege?

2. The recreation of the period, the use of newsreel footage of the events? London, April 1980, Princes Gate and the embassy? The exteriors of the streets, aerial shots? The interiors of the embassy? The interiors of the school and other offices? The training centre for the SAS? The action of the siege?

3. The title, the naming of the six days, introduction to the characters, places? Musical score?

4. The political situation, the accession of Mrs Thatcher, Prime Minister, not seen but heard, newsreel footage, hard in management, an example of the Iron Lady? Wanting to give an example of the treatment of terrorists?

5. The Embassy, the staff, the terrorists entering, the guns, rounding up the staff, the police inspector, tensions, the guns? Keeping the hostages for the six days? Terror? The issue of food?

6. Salim, his leadership, terrorist? The motivation for the siege? The Arabs in Iran? The Persian domination? Prison and torture? Ayatollah Khomeini? The early years of the Islamic Revolution? The other members of the group? The military experiences, arrest and torture? Salim, the negotiator, impatient yet able to extend deadlines? Sending out hostages? Talking with Max? The pressure from the more fanatic men? The shooting of the embassy staff member? The changing of the situation? His negotiations, Max and his consideration, bringing the food? The final lies and the promises for the escape?

7. The authorities? William Whitelaw, the minister responsible, liaising with Mrs Thatcher? At the meetings? Her firm decisions? The other advisers? The hypotheses for the attack? The military advice?

8. Max, as a person, negotiator, more quiet? The background of his wife and children? The discussions, the strategies? The phone calls, the bond with Salim, reassuring him, getting the postponements, bringing the food, the release of hostages? The personal pressure? His not wanting an SAS attack? Ultimately, talking with Trevor, with Salim, hearing the shots? The reassurance about the bus and transport to Heathrow? His ultimate dismay? The phone call to his wife, reassurance?

9. The contrast with the SAS, Rusty, the rehearsals at their base, testing out their strategies and tactics? The call, the gung-ho attitude? The various members of the team and the background, training? In the buses to London? Setting up the headquarters, the discussions, the tactics, the building of the model, the rehearsals, the caretaker and explaining the model was wrong? Waiting, standing down? Ultimately going in, the plan, scaling the walls, the guns, smoke, confrontation with the terrorists? Shielding the hostages, getting them out? The death of the terrorists? Salim? One surviving – and imprisoned?

10. The police, the decisions, the strategies, liaising with government officials?

11. The BBC, Katie Wade, her cameraman, staying, covering the siege for days, her commentary, getting vantage points? The final tribute to her and her work?

12. The final information, the subsequent careers of all concerned?

THE JOURNEY

UK, 2016, 94 minutes, Colour.
Timothy Spall, Colm Meaney, Toby Stephens, Freddie Highmore, John Hurt, Catherine Mc Cormack, Ian Beatty, Mark Lambert.
Directed by Nick Hamm.

The Journey is a rather laid-back title for a very interesting film. The literal journey of the title is one from St Andrews in Scotland to Edinburgh airport. And those making the journey are the Rev Ian Paisley and Martin Mc Guinness.

The screenplay, by Colin Bateman, is conjecture. It is an attempt to dramatise the coming together of two arch enemies in Northern Ireland, the Ulster-based Ian Paisley, foe of Catholicism, supporter of the Britis,h and Martin Mc Guinness, head of the military arm of the IRA. In the consequences of the peace agreements of the late 1990s, government in Stormont was to be a collaboration between each side. The setting of this film is 2007, the peace talks in Scotland, Ian Paisley’s golden anniversary of his wedding and his wanting to get back to Belfast for the celebration. Weather is difficult. A private plane is found in Edinburgh but Paisley has to be taken their and Mc Guinness insists, against the will of Gerry Addams, and Tony Blair being wary, that he should travel with Paisley. The film shows what they might have talked about – and the eventual handshake in the agreement to shared government.

Timothy Spall can do all kinds of roles. He was sinister as David Irving. He was flamboyant has the painter, Turner. He has the mannerisms of Paisley and his staunch biblical stances – although the photos of the actual Paisley in the final credits show him to be capable of broader laughter than Timothy Spall manifests. Colm Meaney, fine Irish actor at home, in the UK and in the United States, has the less flamboyant role but is significant in his reaching out to the seemingly intransigent Paisley.

It is a pleasure to see Freddie Highmore in the role of the chauffeur who is a British agent as well as John Hurt as Harold Peterson, long-time adviser to the British government. Toby Stephens portrays Tony Blair. A number of other British advisors are present as well as the Prime Minister of the Republic of Ireland, Bertie Ahern.

Strong dialogue, interesting political implications, some savage memories of past prejudice and brutality during the Troubles, the murders and bombings, amazement that reconciliation was possible and for some future collaboration in government.

Direction is by Nick Hamm, himself Northern Ireland, director of The Hole, The Godsend and a number of television series.

1. The screenplay of conjecture and imagination? The fact of the Peace Conference of 2007, Irish rule? Asking questions why and how?

2. The title, the plain title?

3. Scotland, St Andrews, the landscapes, the road, the sea, the forest? The interiors? The musical score?

4. The providing of historical information? The Troubles? The different sides, in Civil War? The brutal deaths, the horrors? The bigotry, religious motivations?

5. On the Protestant side, anti-papist, suspicious of Catholics, from the time of Cromwell? The background of the Tudors and the Protestant martyrs? Ireland, England, the United Kingdom and Northern Ireland? The Catholics, being oppressed, the Irish Republican Army and its traditions? War and killings?

6. Ian Paisley, his stances, staunch Protestant, Presbyterian, his political background in leadership? Anti-Catholic? The Pope as the antichrist? Strong preacher, reading the Scriptures, quoting the Scriptures? Not drinking, not dancing? Demonstrating outside the cinema with The Exorcist? His marriage, his son and his political presence, 50 years of marriage? Ready for peace? Timothy Spall’s performance?

7. Martin Mc Guinness, his age and experience, the IRA, command, the deaths and his responsibilities? The relationship with Gerry Addams? Anti-Protestant? The killings for over 40 years, the IRA, his regrets, the sad story about explaining deaths to his daughter? His move to politics? Colm Meaney and his performance?

8. St Andrews, Harry Patterson, his age and experience, advice, with Tony Blair? Knowing the protagonists well, his hopes? His supervising and surveillance in the car? His errors? The situation redeemed? Those assisting him?

9. The range of staff, the British, the rule of Tony Blair and the intervention about travel to the Jubilee? Ian Paisley Jr and his advice, his working with his father, even tying his shoelaces? Gerry Addams, his background, disagreeing with Mc Guinness about the trip? Bertie Ahern, representing the Irish Republic? Kate Elgar and her role in the diplomacy?

10. The driver, seeming to be innocent, his headphones, part of the surveillance, his eagerness, talk, his task, the talk about Samuel L Jackson? The suggestions for what he was to do, the security car following, leaving, the shortcut through the forest, the crash, fixing the car, calling at the service station, the bent credit card, Paisley paying? To the airport on time?

11. The situation, the weather, security, whether Mc Guinness should go, his argument, the fact?

12. The two passengers, the tentative aspect of being together, the mutual dislike, contact, the first word, Mc Guinness trying to borrow Paisley’s phone, refusal, his wife phoning? The words, the joke about plane biscuits, fearing that there was something wrong with the chauffeur?

13. The two reminiscing about the Troubles, the talks of the terror, the deaths, the politics? Paisley and his aggressive discussions? Mc Guinness and his profanity? Changing attitudes? Politeness or not? The petrol incident, Paisley on the card and cash, Mc Guinness not being given one, Paisley and his thundering sermon and the attendant typing in the numbers? The accident, in the woods, their walking, talking, not being heard? Situations of family, ordinary life in Ireland, finding the church, the discussion about the stained-glass windows and the martyrs, Paisley in the pulpit and the touch of the thunder in sermons? Being together, movement to change, letting go of the past, Mc Guinness refusing to apologise about his part in the Troubles? Shaking hands? On the surveillance screen? The British happy at what had been achieved?

14. The credits, the photos of the two, information about their working together? Images of friendship, Paisley and his laughter?

ROYAL HEARTS

US, 2018, 90 minutes, Colour.
James Brolin, Cindy Busby, Andrew Cooper, Lochlan Nieboer, Martin Wimbush, Glynis Barber.
Directed by James Brolin.

This is rather simple moviemaking for a television audience. And, in many ways it is simplistic, relying on stock characters and situations even if the whole thing is a fantasy. It was produced and directed by James Brolin who has a starring role as a Montana cow puncher who suddenly finds that he is the King of mid-European small country (the kind of thing popular in the 19 century with such stories as The Prisoner of Zenda!).

The focus is on his daughter, Kelly (Cincy Busby) who lectures at a university, specialising in Jane Austen, with the prospect of teaching at Oxford. An official arrives wanting an interview with her father – and her relationship with him is a bit tentative. The revelation is that his ancestors in the 19th century, migrating to America, have no male heir except himself so he is to be the King. He is not so enthusiastic, preferring the company of his dog and his cattle.

He is persuaded to go to Europe, looking like the cowboy, the innocent abroad in Europe. His daughter is rather exhilarated by everything. However, there are political problems, the kingdom has been divided and there is a young king and the neighbouring land, ambitious, wanting to set up tech factories.

The neighbouring King, rather dashing and handsome, comes to visit and focuses on Kelly, ultimately proposing, wanting to unite the kingdoms. In the meantime, on the way in, she has encountered a man with the sheep, Alex, attractive in his way. She obviously falls for him but is not inclined to admit it. Of course, her father sees right through this. There is a privy Council running the country and the King has an audience with them, agreeing to stay for a fortnight and then seeing what’s what.

During the fortnight, the King goes from a banquet down to a local Tavern and meets an expatriate American, Joan, goes fishing with her, brings her to the Castle – a rather obvious romance. Alex is always about, giving good and sensible advice, inviting Kelly to be present at the birth of a foal. Ultimately, the new king confronts his neighbour, aware that he is bankrupt and wants to exploit resources in the new king’s kingdom. He does a deal whereby he hands over the rule of the country to the privy Council (and the audience discovering that Alex is the son of the chief of the Privy Council), and that there will be a lease for the minerals in the mountains…

Happy ending all round, very romantic, not really to be believed! Interestingly, it initially shows the Americans coming into Europe, at first unwillingly, then being relied on to help out. However, the ending breaks through with the American giving up any pretensions of ruling in Europe. Perhaps the audience would be tempted to think, “as if…�.

GET THAT GIRL

US, 1932, 67 minutes, Black-and-white.
Richard Talmadge, Shirley Gray, Fred Malatesta, Carl Stockdale.
Directed by George Crone.

This is a brief supporting feature from 1932. It was made by the company owned by the star, Richard Talmadge. It is a star vehicle for him, an actor who was an acrobat and incorporated acrobatics in his film. It was noted that he was popular in the Soviet Union, perhaps more so than in the US. Then it was suggested that this screenplay, very basic and straightforward, probably played better outside the US.

In fact, it is very simple. A young girl has to sign a document about her inheritance, is being pursued, is warned by the police, hurries to the train. A young man is running late for the train, the gate is shut, he leaps over the barrier and finds himself sitting at the back of the carriage next to the young girl. He is rather awkward in a genial kind of way. She tries to keep to herself. Then she gets a message that the pursuer is on the train and she becomes suspicious of the young man, getting off, he being put off the train and deciding that he must rescue her.

She goes to a mansion where she comes under the power of the mad doctor and his nurse assistant. The men following her to kidnap her also turn up. The young man steals a car and drives to the mansion to try to rescue her – and their follows a rather long scene of basic acrobatics for the star, over tables, under tables, round tables, upstairs, downstairs and a lot of throwing the opposition around the rooms.

The police come to arrest him for the stealing of the car and the audience sees the mad doctor wanting the building for his private asylum, the young woman and her being terrorised, the plans for her. Then the young man returns – and a rather long sequence where all the acrobatics are repeated. Needless to say he confronts the mad doctor as do the police and rescues the girl.

Basic filmmaking.

CAMMINA, CAMMINA

Italy, 1983, 171 minutes, Colour.
Alberto Fumagalli, Antonio Cucciarre.
Directed by Ermano Olmi.

Even a devout Catholic director like Ermanno Olmi used the pilgrimage as a source of satiric critique of Christianity. In his Cammina, Cammina, where he re-enacts the journey of the Magi in Italianate style. He uses it as a symbol of various attitudes to discipleship. Some of the pilgrims refuse to go. Others grumble and are critical. Others drop out, while others persevere in order to see a miracle. It throws light on the attitudes of the people towards the Jesus they want to find.

1. A gospel allegory? Reflecting on the gospel story? Reflecting on the gospel message? Comments on Christianity – Italian style?

2. The work of the director, his range of films, stories of Italy, stories of faith and searching for faith?

3. The landscapes, the people in the locations, the use of tableau, moving tableau, action, close-ups, night and day, light and dark? The colour, creating the period, the costumes? The towns and cities?

4. The musical score, the blend of hymns, traditions, classics, the cantatas?

5. The Nativity Play, the prologue, audience knowledge of the story? Audience response? The events, but the events being acted by these people, characters? The announcement of the play? Reality and imagination? Olmi and his role in writing, directing, interpreting?

6. The credits, the people, getting the costumes, suitable or not, their interactions amongst themselves? Audience response to them, a touch of the rabble as well as earnest pilgrims?

7. The interpretation, the Gospel of St Matthew, the readings, the additions from the Lukan infancy narratives? Mel and scholarship? The story, the background of the Old Testament, the search for Jesus and his meaning? The use of the journey, the return? As to be interpreted by the audience?

8. Olmi and his belief in Jesus, God and human, saviour, peace, coming to be with us, cosmic? Gentle, ideal, the paradoxes? With the journey? The demands, the gifts, adoration? The contradictions? Children an understanding? The role of the priests, rebels, reality, glorified, Jesus betrayed, suffering and dying?

9. The role of the church, the clergy, history, the Vatican?

10. The literal journey through northern Italy, terrain, backgrounds, the feel of the journey?

11. The journey of the Magi? The character of Mel, his age, appearance, leadership, with the crowds, paralleling the Magi and the Gospels? The meeting with the other two Magi, the discussions?

12. The offscreen meeting with Herod? The consequences? Going to find Jesus – and Mel escaping away, not staying to support Jesus and the persecution?

13. The little boy, Rupo, talking with Mel, his age, wisdom, his role in the pilgrimage, his role in the film for reason, interpretation, challenge?

14. The meaning of a journey towards Jesus, paralleling with the Magi, bearing gifts, the puzzle, the search – and some fulfilment?

IT’S NOT ME – I SWEAR!/ C’EST PAS MOI, JE LE JURE

Canada, 2008, 110 minutes, Colour.
Antoine L’ Ecuyer, Gariel Maille, Catherine Faucher, Suzanne Clement, Daniel Briere.
Directed by Philippe Falardeau.

The I of the title is a Canadian boy aged nine. He lives on the outskirts of Montréal. The parents quarrel and are on the point of divorce, the mother deciding to go to Greece. The father does not have the capacity to bring up his children well.

There are two boys, one older than Leon, the boy of the title.

Leon has an imagination, is emotionally disturbed, tells lies, gets away with it and, manifests his discontent by destructive behaviour, literal destruction, and an alliance with a young girl was also searching for her absent father and who has the same instincts as Leon.

The film is a character study and a portrait of bizarre behaviour in a dysfunctional family. The director, Philippe Falardeau who was to make the excellent Monsieur Lazhar, about a teacher from Algeria in Canada, a film of great understanding and compassion.

1. Audience interest in the slice of life, tragedy, comedy, tragedy-comedy? Pictures of childhood, adulthood? Family, dysfunction? Neighbours? And the importance of truth and lies?

2. The Canadian settings, the outskirts of Montréal, the 1960s, re-creation of the period, the historical sense, the cultural background, the role of religion, Catholicism, the changes in Catholicism, in French- Canadian religious imagination? Images of change, meanings and values?

3. The house in the street, comfortable, the school, the hospital, the river and woods, the Gypsies? The authentic feel? The images and score?

4. The title, the reference to Leon, the opening, the focus on the Word, evolution, the role of God? Leon, the issue of truth, lies, bad lies, lies badly told, consistency? Issues of God, death and light? Jesus, the cross?

5. Leon, his age, the voice-over, articulate? His life and growing up, the family? The difficulties? His mother spoiling him, the experience of life and death, his father? Normality, Leon not normal, Lea and her bond, being like Leon? Comparisons with Jerome?

6. The experience of death, language, the pool, the mother and the knife, the shop, the continued lies? The death wish, dangers, yet facing life day by day, motivation? The leap, tenpin…? The motives for death, life and choices?

7. The picture of the parents, the mother, painting, her experience of the lies, frustration? Fighting with her husband, divorce, Greece? Leaving, painting, the gifts and postcards? Jerome and the phone call? Jerome and Lea, fatalities? In reality – in dreams?

8. The father, his attitude towards the world, home, clashing with his wife, Jerome, the vocabulary? Leon, the search, leaving? At home, meals, piano, glasses? Principles, apologies? Restitution, the mother’s address? And his living in the world of lying?

9. The bad effect of his mother leaving? Suicidal thoughts? Destruction and mayhem?

10. With Lea, her collaboration? Her searching for her father – business trip for two years?

11. Leon growing up? Possibility for change? Hope?