INSIDIOUS: THE LAST KEY

US, 2018, 103 minutes, Colour.
Lin Shaye, Lee Whannell, Angus Sampson, Kirk Acevedo, Caitlin Gerard, Spencer Locke, Bruce Davison, Javier Botet.
Directed by Adam Robital.

It is not necessary to trust the word ‘last’ in this film’s title. Since 2010, there have been four Insidious films and, depending on success (which does usually come with each episode), there could well be another sequel.

Clearly, this is a film for those who have enjoyed the other demonic stories and fears in the franchise. Someone coming across this episode without the previous three may well be wondering what is going on and why.

Lin Shaye as Elise Rainier has been a staple presence in the films. She is a Parapsychologist, ready to confront any demon that might tear to come her way. She is also available for casting out demons, though she has been relying in some of the previous films on two associates, Spectral Sightings, who are able to detect some demonic presence (although Elise is certainly an expert) but they are able to help with any of the physical demands. They also contribute some comic touches – which, it seems, some of the fans deemed inappropriate, even corny, for such serious enterprises. They are played by two Australians, comedian Angus Sampson, and the author of the series (as well as becoming famous with the Saw series), Lee Whannell.

This episode begins with a nightmare – but it also offers the opportunity for the audience to get to know something of Elise and her background, New Mexico, 1953, where she lives with her parents and her younger brother, Christian. Her father, a policeman, is a brute, physically harmful to his daughter, oppressive to his wife, not believing at all in his daughter’s psychic powers and her ability to detect the presence of evil spirits. She leaves home, leaving her younger brother behind.

When Elise wakes up from a nightmare, it is 2010 and she has established a reputation for confronting spirits. She receives a request – and her interest and fear, as well as those of the audience, are excited because the caller is living in her old family home. She and her Spectral Sightings friends go on the road.

When Elise goes into the house, evoking severe memories, it becomes very eerie and sinister, especially the darker it becomes and she goes down into the cellar. There she discovers a young woman in captivity. In the meantime, her estranged brother, Christian (Bruce Davison), himself the father of two daughters, one of whom has the family capacity for parapsychology, come to the house where one of the daughters is captured.

In this other world of spirits, there is, of course, a frightening character, called all in the film’s credits, Keyface (who can gouge out key holes on victims’ bodies), and Elise offering to sacrifice herself for her niece. The two Spectral associates have to participate in all the sinister goings-on.

At this stage of her life, Elise is an expert, having saved many people, but also detached enough to offer herself. But, she is rewarded by reconciliation with the brother about whom she feels guilty because of abandoning him. It is nice for her to have a family, to have her Spectral associates, and have a happy ending to the serious if this is where the franchise is to finish.

OVERDRIVE

France, Belgium, US, 2017, 93 minutes, Colour.
Scott Eastwood, Freddy Thorp, Ana de Armas, Gaia Weiss, Simon Abkarian, Clemens Schick.
Directed by Antonio Negret.

This is not a particularly good action film. It is full of the fast and furious which most reviewers noted. Actually, the title of Overdrive could have been very well used in one of the Fast and Furious films. So, it is the car film that you have when you haven’t got the popular franchise.

The setting is France, around the city of Marseille. Scott Eastwood and Freddy Thorp portray two half-brothers who are skilled in stealing cars. They are seen in plenty of sequences exercising this particular talent. Scott Eastwood is in love with Stephanie (Ana de Armas) and glamorous model in real life, Gaia Weiss, portraying a thief in Marseilles, Devon, who becomes attracted to the other brother why is not immediately evident.

The dialogue is not particularly persuasive at all – and relies on some ominous silences as well.

The brothers are involved in an elaborate stealing of a car, plenty of detail, plenty of fast driving, plenty of chases, plenty of danger. This comes to the attention of a crime magnate who sees himself as controlling Marseilles. His played by the excellent actor Simon Abkarian, who featured in French and American films. He summons the two young men, terrorises them, and employs them to steal cars from a rival to his Lordship of Marseille, a German played by Clemens Schick. He is sinister himself and also has his focus. Both crime Lords are particularly wealthy, love hoarding vintage cars.

The two brothers and the two women become involved in a lot of double dealing, seeming to be working from for Abkarian and then making contact with Schick. Whatever the truth, and the rivalry between the two gang Lords which comes to a head, the brothers enrol the assistance of a whole lot of characters in Marseilles, as well as an expert on bombs.

Plenty of explosions, gates blown open, the gang all taking a car each and driving down the highway – and the audience try to work out who was working for whom and why.

Scott Eastwood resembles his father very closely – and this is a film that Clint may have contemplated acting in in the 1950s. Freddy Thorp is rather unpersuasive as the half brother.

With its French setting, and with the focus on vehicles and speed, it will remind audiences of the Transporter series the other car action shows from directors like Pierre Morel (who was a producer of this film), Luc Besson and Louis Letterier. The present director is from Columbia.

SUSPENDED ALIBI

UK, 1957, 61 minutes, Black-and-white.
Patrick Holt, Honor Blackman, Valentine Dyall, Naomi Chance, Lloyd Lamble, Andrew Kier, Frederick Piper, Viola Lyel.
Directed by Fred Shaughnessy.

A small British supporting feature of the mid-1950s, more like an episode of a series on television in later decades. However, it works rather well. It was directed by Alfred Shaughnessy, a writer who had a long career in British film.

One of the differences is that in this film the audience knows who is the murderer is very early in the film. But the central character is accused of the murder, has created an alibi but is exposed, there is a further murder, a court case, condemnation and potential execution.

Patrick Holt is an editor who has become involved with one of his contributors, Naomi Chance, now wants to break it off. He has had some tension with his wife, played by very glamorous Honor Blackman, to become James Bond’s pussy galore in a few years. He editor creates a card game is an alibi for his visit to the writer. However, a neighbour joins the actor who is providing the alibi, they clash about cheating, the editor’s son’s knife is on the table, a scuffle and the actor is killed.

Valentine Dyall, with a distinctive fine radio voice, is the inspector. While the murderer is interrogated, he also has an alibi but fears that the woman may reveal something goes to visit her flat and kills her. The murderer, Lloyd Lamble came from Melbourne.

A chance piece of evidence comes to the attention of the prison chaplain who checks with the editor’s wife and finds that the pen he has is not here is that the murderer has taken his by mistake. He meanwhile is escaping to the continent but is held up at the channel.

1. A British supporting crime feature? Entertaining and interesting?

2. 1957, homes, jobs, flats, the police station? The musical score?

3. The audience knowing the killer, the puzzle about how he will be unmasked? The court, alibi is an deception?

4. Paul Pearson, in himself, his work, staff, the involvement with the writer? Tensions with his wife? Bonds with his son? His sons admiring him, the issue of the knife? The phone call, his going to the public phone box, being spied on by the neighbour? Going to visit, setting up the card game with his actor friend, providing an alibi, the later phone call, the encounter with Waller in the corridor? Going home, unsuspecting?

5. While the busybodies, the husband critical of his wife, her looking out the window, listening to the party line, knowing everything that was going on, disliking Paul Pearson, thinking in the scandal? Being interviewed by the detectives? Providing information?

6. The actor friend, card game, while a arriving, the cards, the meeting with Paul Pearson in the corridor, while is later lies? The argument, cheating, the struggle, the knife, the wrong pencil? The killing? The cover-up?

7. The police inspector, his assistant, the interrogations, building up a case?

8. Lynn, the shock, Paul and his lies, his excuses? Waller, suspicions, going to visit him, losing his temper? The issue of the delivery boy and Wallace alibi?

9. The writer, her apartment, her attachment to Paul, his wanting to break? Waller going to visit her, her diary, pushing her at the window? Taking the diary?

10. The court case, the newspapers, found guilty?

11. The chaplain, comfort, the issue of the pen, phoning Lynn, checking out the pencils?

12. The killer, going to the continent, the mistake with the money at the channel, his being held up, arrested?

13. Reconciliation with wife and son?

FIFTY SHADES FREED

US, 2018, 105 minutes, Colour.
Dakota Johnson, Jamie Dornan, Eric Johnson, Eloise Mumford, Rita Ora, Luke Grimes, Jennifer Ehle, Marcia Gay Harden, Bruce Altman, Arielle Kebbell, Callum Keith Rennie.
Directed by James Foley.

Shades of Grey, Shades Darker, and now the Shades are Freed – whatever that might mean.

Here is the third film in the series, based on the best-selling but not necessarily best-written, novels by E.L. James. This film and its predecessor were directed by James Foley. And the two stars, Dakota Johnson and Jamie Dornan are back again as is the villain of the previous film, Eric Johnson. Marcia Gay Harden appears as Christian Grey’s mother and you might glimpse Jennifer Ehle in the wedding sequence.

Wedding?

The film opens with Anastasia and Christian in love, going through a marriage sequence which could come from any romantic film. It is very lovey-dovey. And then they go off to a honeymoon on the Riviera, relishing the sun, the sun on bodies (although Christian has some rather prissy reservations about Anastasia on the beach), even more lovey-dovey giving a context for the sexual scenes.

So, what plot can ensue with such a happy ending at the beginning?

Ominous messages from Seattle, documents in safes, Christian finding that he must return to his business. Anastasia will go back with him – and resume her job at the publishing company, finding herself promoted. She would like to be called Ana at work but finds that Christian does put an emphasis on “Mr Grey� – so she becomes “Mrs Grey�.

Anastasia in this film is certainly very attractive, quite self-assertive, supporting Christian, even in some visits to the Red Room which, we remember from the past, is a domestic chamber for some sado-masochistic behaviour, hanky-spanky. Anastasia seems to be rather in control, happily devoting herself to Christian and his idiosyncrasies.

But, Christian himself? Still terribly serious. Still terribly controlling. Still insisting on intervening in Anastasia’s life and career. And absolutely no sense of humour. Probably at the wedding sequence he did smile but not very ostensibly.

Which means then that they have to invent some melodrama to have some plot. Not that life is always unpleasant – holiday in Aspen, Colorado, with Christian’s brother and sister. Plans to redevelop a mansion outside the. But, Jack, from the previous film, working with Anastasia but not getting her job, becomes even more of a dramatic heavy, stacking documents, attacking Ana at home, sent to prison, getting out on bail, becoming involved in more than a little abduction and financial demands.

Anastasia has to face all this crisis and does not want to tell Christian who has reacted very badly about the news that were all expecting, Ana expecting.

However, she is not exactly a damsel in distress and can drive a car at a more than mean pace, can conceal a gun and shoot it when necessary.

So, marriage, business, melodrama all as catalysts for freedom from the dark shades.

Those who can’t bear reading even a word on the screen at the end of the film and race towards the exit have to pause a moment because there is quite a sweet and twee sequence to bring the series to a close: pregnancy, children, Christian the smiling father… Whether Fifty Shades Family will have the same prurient appeal…?


1. The trilogy? The popularity of the novels? The range of readers, the reviews, the films, the marketing and the response?

2. This third film for the audience all three films? Attitudes towards the series? Audiences identifying with the characters, interest in them, the prurient touch?

3. Seattle, the city, the views, offices and buildings, apartment, country house? The Riviera? The musical score?

4. The treatment of the novel, an American story, the focus on sexuality, suggested, sex and dominance, sadomasochism? The roles of men and women? Love, commitment, marriage?

5. Christian, his past, his character, dominating, humourless, enjoying power, sadomasochism? Changing, falling in love? Anastasia and the development of a character, strong,
her work, career, love for Christian, the sadomasochism and her controlling his dominance? The development of each character?

6. The background of friends, the wedding, the mothers, business associates, Christian’s family? The issue of adoption and the consequences?

7. The opening with the wedding, the honeymoon, lovey-dovey? The sexual relationship – visual? Nudity? Christian and his possessiveness? Anastasia and her allowing him to be critical?

8. The files, Jack and the intervention? The back story? The assault on Anastasia? Losing his job, Anastasia’s promotion, collaboration from Liz? The attack on the house, his arrest, the bail issue, going to court? The phone call, his abducting Mia, Ana finding her? Anastasia and the secrecy, putting the trace in the bag with the money, the bank, Christian permitting it? Anastasia and her swift driving? Christian and the police? The confrontation, the melodrama, Anastasia hit, with the gun, shooting Jack?

9. Anastasia and her job, her work with the author, Christian’s touch of jealousy? The significance of the three for security, accompanying her all the time? At the office, being called Mrs Grey? The pleasant assistant and flirting with the security man? The boss, pleased with Anastasia’s success? Liz aggressive? Anastasia wanting to be self-sufficient? Christian intruding into the office? Her going to have drinks with Kate, the conversation? Christian’s reaction?

10. Christian, getting the huff, lacking humour, intense, his business work and trips, the importance of security? His love for Anastasia, mellowing, the Red Room, the sadomasochism, the hanky-spanky? His changing attitudes? Intimidating? The news of the pregnancy, his not being able to take it?

11. The visit to Aspen, the house, the scenery, Mia and Kate, Elliot, enjoyment, Christian playing the piano and surprising people?

12. The new house, the architect and her flirtatious manner, Anastasia intimidating her? Wanting a simpler house?

13. The discovery of the pregnancy, the discussion with the doctor, her telling Christian, his drinking, meeting with Elena in the text? Anastasia’s leaving, upset?

14. The melodrama with Jack, Christian and the pursuit? The rescue – and Anastasia something of a damsel in distress? But prepared with the tracer and with the gun?

15. The aftermath, Anastasia inviting Christian to the Redcap room?

16. The final sequence, the touch of the twee and the sweet, normal, marriage, children, family, the pregnancy…?

GAUGUIN - VOYAGE DE TAHITI

France, 2017, 101 minutes Colour.
Vincent Cassell, Tuhei Adams, Malik's Zidi.
Directed by Edouard Deluc.

Paul Gauguin is best remembered for his work in French Polynesia, in Tahiti, the Marquises. Spending some time there in the 1880s, he returned to France, was associated with Vincent van Gogh as well as many of the prominent artists in Paris. He was married, with a large number of children.

On his return, he tried to persuade artist friends as well as his wife and children to come with him again to Tahiti. The artists thought it was too far away and too difficult. His wife complained of the squalor in which they lived.

Nevertheless, he returned, rather ill but going into the mountains to find the locals, to commune with nature, to hunt and gather, to talk some of the local language, to share in French, to hear the stories of the gods and creation and to paint. His health improved. The local people also wanted him to take a wife and designated a young woman with whom he conversed, learning the different myths of the people, a testing time of one month. She then became his wife.

He then returned to the capital, his health improved, he had done some paintings and was also involved in chiselling images in wood. He had a young associate who was creative in carving, but was able to outsell his master to the passing tourist trade. The young man also had eyes for the artist’s wife, following her from church one day with the artist following, angry, with his gun but not shooting.

Paul Gauguin also kept his wife inside, locked, wearing European dress, having formal meals with European food and cutlery. To get money he worked as a wharf labourer.

No money came from France so ultimately he was repatriated as a poor man. However, he was soon to return to the islands and paint for another 10 years, classic paintings but he was to die in poverty.

He gained a considerable reputation in the 20th century.

1. The Status of Paul Gauguin as an artist? In the 19th century? Dying in poverty 1903? Becoming a classic 19th century artist in retrospect? His vision of Polynesia and Polynesian people?

2. Audience knowledge of Paul Gauguin, how much necessary to find the film interesting and entertaining? The background of his marriage, his large family, his going to Tahiti, his painting, the exhilaration, wanting to return, urging his French artist friends, urging his wife, their refusal? His wife disgusted with the poverty of their lodgings? His need of money? His decision to go, his hopes? His ambitions, being in touch with nature? The French theory of the “Noble Savage�? His art?

3. The period of the film, two years, symbolic of his time into French Polynesia? His poor health, the interviews with the doctor, the warnings, his decision to travel into the mountains, to find the people? Joining them, welcomed, issues of language, some French, some local language? Hunting, gathering? Eating better food? The improvement in his health? His being urged to take a wife, her explanation of the myths of creation and the different gods and partners? The test for 30 days?

4. His return to the capital, the interviews with the doctor, his better health, development of his art, the children wasting the paints, his need for canvas, his indebtedness to the owner of the store? The young man, his assistant? Chiselling the trunks of the trees? Paul Gauguin instructing? But Is Not selling any of his work, having to bargain? The young man and his Polynesian salesman, profit, respectability? Suit and tie?

5. The religious background of France of the 19th century, Gauguin’s religious themes, his despising the church? The locals all going to church, special clothes, the priest, the hymns, his wife wanting a dress, wanting to go to church?

6. His having to work as a labourer, the motives for his locking up his wife at home, her subservience, yet looking out the window? Pregnancy and miscarriage?

7. His wife going to church, the young man following her, Paul Gauguin and following them, discovering them, his anger, the gun, not shooting?

8. Sending the paintings to friends? Sharing comradeship with the doctor? No money coming from France? His desperation, behaviour towards locals? His wife wearing a local dress, using customary for meals, formal?

9. His paintings, his hopes, his being repatriated as a poor man?

10. The information, his return, spending a decade, his paintings and their status, his credibility, the landscapes, the people, bringing Polynesia to life? His dying penniless?

FINDING YOUR FEET

UK, 2017, 111 minutes, Colour.
Imelda Staunton, Timothy Spall, Joanna Lumley, Celia Imre, John Sessions, David Haymon, Josie Lawrence.
Directed by Richard Loncraine.

A film for the young at heart – not necessarily for those who are young only in age. It opens up the world for them that they will associate with oldies, their grandparents (and, maybe, their parents).

While older age might be a late time to be finding your feet, the film reminds us that many men and women discover that they have been stuck in life, need to make a new beginning, need to find their feet again, if not for the first time.

Finding one’s feet means discovery, the ability to use one’s feet and walk in new directions, finding balance – and, as in this entertainment, some fancy footwork in dancing.

This is a British film, very British characters and situations, enjoyable for those who spent some time in Best Marigold Hotels, familiar characters and situations, and pleasing for those who expect the expected.

A wonderful cast. Imelda Staunton plays Sandra, relishing that her husband of 35 years, former police chief (John Sessions) has now been knighted. She loves the idea of being a Lady. But, at the celebratory party, she makes a dreadful discovery, feels humiliated, denounces her husband at the party and moves out. But where is she to go? She has not seen her older sister, Elizabeth (Bif), for 10 years. Bif is played as a free spirit, full of vitality, full of charm, by Celia Imre.

In the meantime, we have been introduced to Charlie, the ever-welcome Timothy Spall. He lives on a houseboat in a London canal alongside his good friend Ted, David Heymann. Charlie does all kinds of odd jobs, especially helping out Bif. He has to help out Sandra at one stage but she is extraordinarily rude to him. Not a great start for a romance…

There is quite a deal of pathos when we discover that Charlie’s wife suffers from severe Alzheimers, is in a home that Charlie could pay for by selling their family home and his living on the houseboat. The scenes between the two, where she not only does not recognise him but rejects him, is very sad, an alert about the impact of Alzheimer’s.

Dancing has been mentioned. Bif and Charlie go to a local club, mainly for the oldies, where they are encouraged to do all kinds of dancing. Sandra, who danced when she was little, is resistant but finally… of course she joins in. Another friend at the club is one of those sophisticated English woman who has had several husbands and perhaps talks like Joanna Lumley. Actually, here she is played by Joanna Lumley.

Lots of interactions that will to entertain the target audience but maybe a bit remote and/or tedious for other audiences. Although, it should be said, that sons and daughters of older parents may well find this film well worthwhile watching and thinking about the future of their parents.

The dance group does a charity performance in the middle of London, very exhilarating. They are captured on video, put on YouTube? and receive an invitation to perform in Rome, all expenses covered. The characters are happy to go to Rome – and so, probably, will the audience.

Not all sweetness and light. Sandra is still bitter about her husband despite her urgings from her daughter and grandson. Charlie faces the terrible fact that his wife has gone from his life. Bif has some pains in her back and (we can probably guess the rest).

The target audience for this film is a solid older demographic. By and large, it is a light film, but a serious portrait of old age, and will probably be very much liked and appreciated by the demographic.

1. The demographics of the film? The target audience? Entertaining, satisfying?

2. British film, tone, situations and characters, emotional – and holding emotions in?

3. The opening, the aerial sequence, stopping at the mansion, the celebration, the contrast with the boat in the canal, Bif’s flat, the streets, the dance hall, the city performance, the London lights? The visit to Rome, scenic aspects, the performance?

4. The range of music, the score, the older songs, background, commenting on the action, their meshing for the performance? The music for the dancing?

5. The title, life, freedom, passion, seeing the world, and the metaphor of dancing?

6. The age issues, life, change, getting older, marriage, breakup, family, grandchildren, the experience of Alzheimer’s, cancer, illness and death? Choices?

7. The blend of the expected – and audience expectations satisfied with the expected?

8. Sandra’s story, turning 60, her life, memories of her mother, memories of Bif, childhood, dancing, friendship with Beth? Her pregnancy, giving up her acting career after the audition, her marriage, 35 years, becoming a Lady, her husband the police chief? The party, the friends, the celebration? Finding Pamela with her husband? The news of the affair? The public behaviour at the party? Her being humiliated, angry, leaving?

9. Bif, older than Sandra, surprised at Sandra turning up, memories of the past, their mother, the cutouts for Christmas, the variety of protests? A free spirit, not seeing Sandra for 10 years? Sandra’s arrival? Bif and her charm, the twinkle, welcoming her sister, listening to the woes, Sandra and her drinking, panic, hospital? Charlie driving them home, Sandra being rude to Charlie? Sandra cleaning and tidying the house? Bif and men, the reminiscing, the Italian story, the accident and death? Dancing, and the group, taking the old man home and his dying with a smile on his face, the funeral? Relying on Charlie? Jackie? The friendships?

10. Charlie, living on the houseboat, working with Ted, the revelation about his wife, his visits, his love, her Alzheimer’s, not recognising him, selling the house for her care, on the boat, the violence towards him, consulting the manager, her being virtually dead? Her watching the TV? News of her death, a new chance with Sandra?

11. Ted, the boat, going to the dance, crying at the song and remembering his wedding, friendship with Charlie, friendship with Jackie, a supportive character?

12. Jackie, woman about town, marriages, the Joanna Lumley style?

13. Sandra, her harshness, anger, phone calls and Michael, the outing with her daughter and grandson? Cleaning house? Drinking? Persuaded to go to the dance, meeting the group, her reluctance at first, not volunteering? Dancing with the vacuum cleaner at home? Changing her hair? Her apology to Charlie? Her enjoying the dancing, the performance? Sandra and Charlie going to see the London lights? Bif and her illness, the secret?

14. Sandra wanting to sell the house, clearing it, the visit and finding Michael and Pamela? Grinding the trophies?

15. The dance in the London Square, the crowds watching, the exhilaration, the donations? The decision to go to Rome, the invitation, expenses, the touristic sites, the hotel, Bif and her illness, Sandra late, the exhilaration, the tentative audience, the great response? Performance? Bif in the hotel, her death?

16. Michael, Sandra going back, the dancing with her grandson, Michael’s disapproval – the last straw? Her leaving?

17. Charlie inviting her to travel with him, her chasing the boat along the canals, the final symbolic leap?

THE SPIDER’S WEB

UK, 1960, 85 minutes, Colour.
Glynis Johns, John Justin, Jack Hulbert, Cicely Courtneidge, Ronald Howard, David Nixon, Wendy Turner, Basil Dignan, Joan Sterndale- Bennett, Ferdy Mayne, Peter Butterworth, Anton Rodgers.
Directed by Godfrey Grayson.

This is a murder mystery based on an Agatha Christie novel. In its time, it was a supporting feature but was shown on television in the United States.

While there are a number of versions of Agatha Christie novels from the 1930s, the popularity of film and television versions began in the 1970s with Albert Finney as Poirot in Murder on the Orient Express, followed by Peter Ustinov in cinema films and television films, Angela Lansbury as Miss Marple. However, the great popularity of film versions of Agatha Christie mysteries is for television versions, the many films with David Suchet as Poirot and various actresses as Miss Marple, Joan Hickson, Geraldine Mc Ewan, Julia Mackenzie.

This seems a very modest version of an Agatha Christie story, all the action taking place within a country mansion. It has a good cast of British character actors led by Glynis Johns, who had a strong cinema career during the 1940s and 1950s – with Mary Poppins four years on and then Broadway, A Little Night Music with Send in the Clowns in the 1970s. John Justin is the leading man but spends most of the time offscreen. Ferdy Mayne is the sinister murder victim with Peter Butterworth as the inspector along with Anton Rodgers as his assistant. There is some burly comedy with Cicely Courtneidge.


Glynis Johns plays the wife of a career-diplomat, John Justin, stepmother to his 12-year-old daughter, Wendy Turner. Clarissa has a wild imagination, often speculating on macabre what if… kinds of stories. She has suspicious servants, husband-and-wife, who eventually have nothing to do with the crime. Cicely Courtneidge is the gardener who has questions of her own about the house and its contents.

Ferdy Mayne has married the ex-wife of Clarissa’s husband and wants custody of the daughter. However, he is also searching for contents in a secret drawer of a desk. The house was previously owned by a dealer. As it turns out, he has some old autographs, has written in invisible ink information about the victim’s drug deals, but one of Clarissa’s aristocratic friends turns out to be the murderer, not very excitingly dramatic, because he wanted possession of a valuable stamp.

There is comedy of mistaken identities, fabricated stories and many variations, the exasperated inspector, sometimes being corrected grammatically by his assistant, the little girl thinking that she had murdered the victim because she had stuck a pin in a doll with some voodoo formulations. And it is all complicated because the husband has to bring home, secretly, a VIP for government discussions.

Entertaining while it is on the screen, but not particularly startling, paling in comparison with the later Agatha Christie versions.

THE LAST MILE

US, 1932, 75 minutes, Black and white.
Howard Phillips, Preston Foster, George E.Stone, Noel Maddison, Alan Roscoe, Paul Fix, Daniel L.Haynes, Edward Van Sloan, Louise Carter, Alec B. Francis.
Directed by Sam Bischoff.

The Last Mile is based on a play by John Wexley. Spencer Tracy played the central role of Killer Mears on Broadway and Clark Gable played it on tour. Howard Phillips who plays Walter also appeared on stage. This screen adaptation relies on words, the impact of dialogue. The action is confined to the death cells of the prison, courtroom scenes, and in hospital. Some flashbacks are inserted to the home of the condemned man, to the garage where he worked, an attempted robbery and the death of his partner. There is also a car chase, early 1930s style.

The film opens with serious words about imprisonment, capital punishment, words from the governor of Sing Sing, not making moral judgements about the guilt or innocence of the prisoners but asking whether a murderer should be punished by being murdered by the state. Prison films were very popular in the 1930s with quite a number of raising questions about capital punishment.

Howard Phillips, who appeared on the stage in his role of Water, is the young man condemned to death – the audience not knowing at first whether he is innocent or guilty but a flashback showing how he was a victim of circumstances. Preston Foster is very strong as Killer Mears, brash in his statements, clashing with the guards, trying to support Walter, ignoring the prison chaplain and arguing with him, ultimately giving his life for Walter.

The music in the film is interesting, Schubert’s Ave Maria being played over the words of the governor, Daniel L. Haynes, an African- American actor, singing with a strong Paul Robeson-like baritone, and a condemned prisoner with the lyrics of My Blue Heaven as he goes to his death.

Lyrics for the song include: All God's children got shoes, Walk all over God's Heaven. And he notes: There are two Heavens, one for whites and one for blacks; heaven for blacks is near the garbage. Segregation in Heaven.

There is religious background to the film, a Rabbi visiting the first condemned man, praying the Psalms, praying in Hebrew. Walter has a Catholic background with Fr O’Connor? visiting him, praying with him, being put in the cell when Killer Mears starts a jailbreak, arguing with Mears about prayer, faith, but finally persuading him to help the wounded Walter.

The film was remade in 1959 by Howard Koch with Mickey Rooney as Killer Mears and Frank Overton as Father O’ Connor.

The title card reads:
"The Last Mile" is more than a story of prison and of the condemned. To me it is a story of those men within barred cells, crushed mentally, physically and spiritually between unrelenting forces of man-made laws and man-fixed death. And justly or unjustly found guilty, are they not the victims of man's imperfect conventions, upon which he has erected a social structure of doubtful security? What is society's responsibility for ever-increasing murders? What shall be done with the murderers? "The Last Mile" does not pretend to give an answer. Society must find its own solution. But murder on the heels of murder is *not* that solution. - Lewis E. Lawes, Warden, Sing Sing Prison, Ossining, New York

1. Prison? Prisoners? Warden and guards? Capital punishment?

2. The film based on a play, most of the action in the death cells, the warden’s office, the court? Opened out for flashbacks, Walter’s home, the garage, the car chase and crash? The musical score?

3. The title, the focus on executions, the walk from the cells to the execution?

4. The opening, the words from the Governor of Sing Sing, not wanting to make judgements, questioning imprisonment, questioning the murder of a criminal even if the criminal was a murderer? The film and its stance on capital punishment?

5. The introduction to Walter, in the court, condemned, his mother’s outburst, going to prison, in the death cells, the prisoners and their being known by numbers, the introduction, the explanation of the different personalities, the focus on Killer Mears? Audiences not knowing whether Walter was innocent or guilty?

6. The personalities of the guards, sadistic, uncaring, spurning the criminals, taunting them? The stands of the warden, sympathies, doing his duty? His assistants?

7. The personalities of the different prisoners, the man who was going mad, screaming out, poetic? The man with the stay? Jackson, black, the impact of his singing? The man to be executed, his words, story, fears, being taken out, farewelling everyone?

8. Race issues in the early 1930s, the character of Jackson, the long discussion about whether Jackson would be in a quite heaven or a black heaven as well as the speculation about whether there was a black hell?

9. Mears, next to Walter, tough stances, yet encouraging? Antagonism towards the guards? Antagonism towards Father O’Connor? His encouragement of Walter, taking the guard’s gun, organising the breakout, the keys, the priest and the guards in the cell? Contact with the warden? Shooting, hostages, killing the guard in cold blood? The guns, shooting outside? The explosion on the cell walls? The deaths? His demands for a car for escape? His long speeches and explanations in his demands of treatment of others? Walter being shot, the priest making the plea, the news of the pardon, Mears and his decision to go, and his gun, shot?

10. The flashback, Walter and his mother, his partner taking the money, his rash words, going to the garage, the policeman seeing him and knowing about the quarrel, the hold-up, the partner being shot, the men escaping? Walter holding the gun? The testimony of the policeman in court, the mother? His being condemned?

11. The irony of the robbery, the car chase, the crash, the watch with the inscription, the background of Father O’Connor? praying, the timing for Walter’s execution, shaving, the meal, the jailbreak? The news of the pardon?

12. The importance of music, Schubert’s Ave Maria playing during the words of the Governor at the beginning? The plaintiff tone of Jackson and his singing? The executed man singing My Blue Heaven?

13. The touches of melodrama? Prison break, shooting? Walter wounded, recovering, the pardon?

14. The religious background, the man to be executed, the rabbi coming to visit him, in the cell, reading the Psalms, praying in Hebrew? Walter, Father O’Connor?, the visits, getting him to read the Scriptures, encouraging him, the dialogue with Mears? In the cell, the threat to his life, his pleading with Mears? Discussions about prayer and faith, the afterlife? His defence of the Governor and the emphasis on the sense of doing one’s duty? Out of the cell, helping Walter after the shot, the plea with Mears to save Walter?

15. A film of its time – but continued relevance in connection with capital punishment?

I COVER THE WATERFRONT


US, 1933, 75 minutes, Black-and-white.
Ben Lyon, Claudette Colbert, Ernest Torrance, Hobart Cavenaugh.
Directed by James Cruze.


While there is a focus on crime in this 1933 film, it is more a film about newspaper reporting and the consequences.

Ben Lyon portrays Miller, who covers the waterfront, who is dissatisfied with his job, pursues a fishermen who is a smuggler, clashes with his editor, has made mistakes with false leads, but perseveres.

He comes across a man sleeping in his bed, happy-go-lucky type of character whom he befriends – who has the opportunity of making ironic wisecracks throughout the film. His played by Hobart Cavenaugh.

The fisherman is a rogue, involved in fishing but also in capturing sharks, smuggling Chinese immigrants, contained in the sharks. His played by Ernest Torrance, Scottish actor who was also a musician – and does have an opportunity to play the piano in this film. He has a daughter played by Claudette Colbert – the same time that she was working for Cecil B De Mille in Cleopatra and The Sign of the Cross. This is a bright and breezy and forthright role – which led right into her playing a central role in It Happened One Night and her winning the Oscar for best actress of 1934.

The reporter encounters her swimming nude, a cheerful discussion, but then decides to use her and her friendship to get closer to her father and expose him. They do fall in love, the reporter sets up the Coast Guard to detain the boat, the reporter realising that the shark was a decoy and getting someone to slit the shark open with a refugee falling out. The old man is shot and wounded, his daughter tending him, the reporter coming to confront him, the old man shooting the reporter – and then realising that this was the man that his daughter was in love with. He dies, the couple clash – and then reconcile.

Familiar enough material but interesting to see in terms of the role of reporters and the period, but, especially, to see Claudette Colbert.

RUPTURE

US, 2016, 104 minutes, Colour.
Noomi Rapace, Michael Chiklis, Kerry Bishe, Peter Stormare, Lesley Manville.
Directed by Steven Shainberg.

Rupture is an unusual piece of science fiction. It begins like a domestic story, a divorced mother, her life with her son, urging him to study, then dropping him off for a weekend with his father, and arguing with his father about helping him with his studies.

Then Renée, Noomi Rapace from the trilogy of The Girl With the Dragon Tattoo… And Ridley Scott’s Alien Prequel, Prometheus, is suddenly abducted, transported to a laboratory, with a strange eclectic staff. She attempts escape but is subjected then to surgery, as well as processes which will transform her into a superior being. While she attempts to escape through the corridors, she is caught, transformed, returned home – but still able to warn her son to escape from the house.

She is transformed, losing emotions, but still able to relate with her son.

The staff is portrayed by mixture of American, European, British actors including Peter Stormare, Lesley Manville and Michael Chiklis. Steven Shainberg who had directed, nine years earlier, Fur: An Imaginary Story of Diane Arbus as well as Secretary with James Spader and Maggie Gylenhaal.

1. An offbeat piece of science fiction?

2. The American city, the suburbs, homes, interiors, families? The contrast with the experience of the abduction? The travel? The laboratories, surgical rooms, corridors? The musical score?

3. The title, the reference to the breaking of ordinary life, physical enhancement, psychological change, loss of emotions, increase in intelligence, superior beings?

4. Renee, at home, her character, the divorce and the interactions with her husband, her son, his studies, the meals, her urging him on with his studies, wanting his father to help him? Delivering him for the weekend? The clashes with her husband? Waving goodbye to her son? Her fear of spiders and the use of spiders and fear in the rupture procedures?

5. The car following Renee, putting the implement on the wheel, her driving to the skydiving, the puncture, the man helping her, the other cars, the van? Suddenly turning on her, binding her, the abduction, putting her in the van, Dr Nyman and her kindness? Bewilderment? Renee struggling?

6. Her arrival, transfer, her room, the various personnel, the interviews, the baldheaded man and his role, the doctor, the attentiveness, Dr Nyman, other members of the staff? Interactions with Renee?

7. The treatment, freeing her, food, her suspicions? The various personalities and the discussions?

8. The audience realising what was happening, the abduction, the physical transformation, the comments on the quality of her skin, her being considered a superior human? Suitable for the rupture? The processes, the surgery, the food, the transformations?

9. Renee, concern about her son, wanting to be freed? The response of the various personalities? Terrence, his presence, his explanations, his reassurance, his philosophy of superior beings?

10. Renee, her attempted escape, the chase through the corridors, the glass wall coming down? The surrender?

11. The change, her being allowed home, her son, his reaction to her appearance, to her clothes? Her warning him to escape?

12. Renee and a transformation – how complete? Her future…?