THE PANTHER'S CLAW

US, 1942, 69 minutes, Black-and-white.
Sidney Blackmer, Byron Foulger, Rick Vallin.
Directed by William Baudine.

While this is a murder mystery, it is played for smiles more than thrills.

While Sidney Blackmer portrays the local police chief, generally genial and smiling, able to work out what actually happened, the main focus is on Byron Foulger as Mr Eggberry, who gets himself tangled in all kinds of trouble.

He is first seen at night climbing over a cemetery fence and apprehended by the police. He has a letter and a confused story about an extortion letter with a cat’s footprint on it demanding money and a secret rendezvous, the cemetery. It seems that there have been a number of people also receiving these letters they are rounded up to be interrogated by the police. Mr Eggberry seems to be at the centre of all the people concerned who are connected with the opera, singers, managers, those working with costumes. This is important because Mr Eggberry is a wig-maker, very proud of his trade and disparaging of his rival.

Eventually, he confesses to writing all the letters and spinning a yarn to the police. It seems that he has lent 1000 dollars to the opera singer who is poorer than the public believe, has been shielding her when everybody thought she had gone on a voyage to South America, is moving in and out of the hotel where he is lodging while his largish wife and five daughters are away. He wanted to conceal the loan of the thousand dollars from his wife!

Then the plot becomes rather serious and the body count builds – especially the opera singer herself as well as the rival wig-maker. There are various aspects, various police on the job, especially an inspector who tries all the clues and leads into Mr Eggberry.

However, the villain is an imposter from Paris, wanting money from the opera singer, pretending that he had been in the Fighting 69th in World War I, and finally exposed.

Quite slight – it wouldn’t matter too much if an audience didn’t see it.

SHADOW OF THE LAW/ QUARRY

US, 1930, 70 minutes, Black-and-white.
William Powell, Marion Shilling, Natalie Moorhead, Regis Toomey, Paul Hurst, Frederick Burt.
Directed by Louis Gasnier.


The poster blurb sums it up: Wanted for a crime, he did not commit.

This is a very early sound film, highlighting the star status of William Powell who had emerged during the silent era but was to have a very strong career for the next quarter of a century, usually portraying a very dapper character like Philo Vance or The Thin Man. It is something of a surprise to find him spending a lot of the running time of this film in jail.

The film opens with a familiar sequence, a man about town expecting his blonde date to be more welcoming than she is, surprisingly meeting her husband in the hotel room, their fight, her fleeing to him for help, his struggle with the husband who then falls from the window to the sidewalk. A witness saw him looking from the window and testifies in court and he is jailed for life. The woman has disappeared.

Prison films seem to be very popular at the time and there is the usual arrival, checking in, fingerprints, prison clothes… Our hero, James Montgomery, shares a cell with a friendly type, Pete, Paul Hurst in quite a sympathetic role. The years pass, Montgomery is asked by the warden to spy on Pete to find out about his co-criminals. Montgomery refuses, Pete organises an escape which is successful. Suddenly, transition where Montgomery, now with a new name, is head of a mill, almost engaged to the daughter of the mill.

When Pete is released, he goes to see Montgomery, his commission to search for the woman and persuade her to testify. She is certainly a femme fatale of, played by Natalie Moorhead who did a number of similar roles at the time. She turns in Pete to the authorities, detectives tracking down the money that Montgomery had given him to persuade her, follow the money – and end up following her because she has gone to confront Montgomery for more money, threatening to expose him.

There are some tense moments in the confrontation, Montgomery being a man of integrity, the owner of the mill and his daughter supporting him – and all ends well.

With William Powell (although it is difficult to accept him as a convict), this is one of the more watchable films from the period.

CUSTODY

US, 2016, 104 minutes, Colour.
Viola Davis, Hayden Panettiere, Catalina Sandino Moreno, Tony Shalhoub, Ellen Burstyn, Dan Fogler, Jaden Michael, Bryce Lorenzo.
Directed by James Lapine.

Custody has a strong cast as well as talented director for a film that was screened on television rather than in cinemas.

The film opens with a definition of custody with an emphasis on protective care.

This film is about children’s courts in the United States. Viola Davis portrays a judge, very committed to her work, with a 23 year marriage to her husband, Tony Shalhoub, and a son going to college. The principal case for the film concerns a Hispanic woman with two children, Catalina Sandino Moreno, whose husband is in prison, who works in a factory, who is concerned about her son and the company that he keeps in the apartment block, losing her temper with him which leads to an injury, the school intervening, authorities taking the children away into care and then a foster house, her presence in the courts, her concern about her children, a woman with angry outbursts. The third story concerns her lawyer, recently graduated, her first case in this family court, appointed just a moment before with no knowledge of the woman was a situation. She is played by Hayden Panettierre.

While the film shows the story of the single mother in great detail, her relationship with the children, the effect of care and fostering on them, the calling of her prisoner husband for testimony, her temper and outbursts in the court, there is also a strong background story of the judge, her husband’s infidelity with a friend, her relying on her family, especially her father who is more than a touch chauvinist, for support, and her divorce. There is also an underlying theme in the lawyer’s story, her coming from a wealthy family, an uncle who had molested her as a child, her grandmother (Ellen Burstyn) who has kept this a secret to protect the family and is now challenged by her Granddaughter to reveal the truth.

The film is a blend of emotional response, both angry and compassionate, as well as examining the law and strict interpretation as well as favouring the welfare of the child.

The film was directed by James Lapine, who wrote Into the Woods, and directed a small range of films including impromptu with Judy Davis, about Chopin and George Sand,



1. The title, the dictionary explanation? Differences in custody within family, within marriages?

2. The family courts, background, organisation, the officials, lawyers, the judge? Cases? Hearings?

3. Three stories interconnected? Three women and their stories?

4. The theme of the single mother? Parents, prison father, rights, sexual abuse and the truth for families, marital fidelity and communications, careers?

5. Sarah’s story: her husband, his crimes, considered dead, prison? The two children and their ages? The little girl, trust and love? The son, going to the neighbours, the dangers, drugs, the mother’s fear? Sarah and her temper? Going down to the apartment, dragging her son back, pushing him, his hitting his head, treating his head?

6. The boy at school, asleep in class, the teacher concerned, the principal, the supervisor of children? Summoning Sarah? Her reaction, her temper, going to the hospital, care for her children?

7. Sarah, work, the workplace, her friends, the boss?

8. Under the officer judging the case where the child had starved to death?

9. The case, the authorities, her lawyer being appointed at the last minute? The behaviour in court? The judge, the officials, the discussions, Sarah’s outbursts, her lawyer and the attempt to control? Alienation between client and lawyer and the lawyer being fired? Issues of custody, visitation rights? The visits, the short time, the children going to meals, the children’s reactions? In foster care, Sarah arriving, the children fighting, the foster mother absent at the shops? The abducting the children, their meal, her calling Ally? Ally coming to rescue them? A reconciliation, Sarah learning to depend on Ally? The enjoyment of the Thanksgiving dinner?

10. Variety of officials in the court, the woman supporting Sarah? The other officers, issues of time and resources for fostering? Keith Denholtz and his being straight up-and-down? In court? His accusing Ally flirting with him, his later flirting?

11. The resolution of the case, Sarah’s speech and outburst, her rights? The judge, her reply, the emphasis on priorities for the children?

12. Ally, her age, law course, work, doing the right thing to help others, the first case, no preparation, the lack of documents being given her, meeting Sarah, the awkwardness in the court, Keith Denholtz and severe stances, the supervisor? Her family story, the bond with her grandmother, coming to the meal, her parents, her uncle with the child, the background of sex abuse, and experiences, confronting her grandmother, the grandmother keeping the secret for the sake of the family? Ally confronting her, to tell her father? The experience of rescuing Sarah and the children, driving back? But the joy of the Thanksgiving dinner? With Sarah and the children instead of her family?

13. The calling of the father, appearance in court, admitting he is not a good father, his sentence, his rights, wanting to meet his children? Sarah and agreeing?

14. Martha, the story of a judge, 23 years married to Jason, the son going to college, her moods, missing her son? The meeting of her friend in the street, the dinner together, the couples, his explanation of the infidelity, Jason and his trips? Her ousting Jason, cutting his clothes? Time passing, the dinner with her father and sister, her reaction to her father’s seeming justification of men’s behaviour? Possible forgiveness, the meal with her father, the meeting, Jason asked for a divorce, the end of the marriage? His reasons? Martha visiting her son, talking of the situation?

15. Her handling the case, order in the court, the staff, listening attentively, attitude of care, her reactions, interactions with Ally? Sarah to have anger management? The hearings? Her final speech in response to Sarah’s outburst? The stances of the court?

THE NEWSPAPER MAN: THE LIFE AND TIMES OF BEN BRADLEE

US, 2017, 90 minutes, Colour.
Directed by John Maggio.


From a movie point of view, Ben Bradlee is best known as being portrayed by Jason Robards, in an Oscar-winning performance, in Alan Pakula’s All the President’s Men (1976). In fact, later in the film in the aftermath of Watergate, there is a sequence when Robert Redford explains how he persuaded Bradlee not to be suspicious of Hollywood and he enjoys the Washington premiere of the film.

However, in the world of the press, Bradley is very well known for his work at Newsweek in the 1950s and 1960s and then his career at the Washington Post through the 1970s until his retirement in 1991. He died in 2014, age 93.

This HBO documentary was screened not long before the release of Steven Spielberg’s The Post, a film about the Washington Post and the publication of the Pentagon Papers in 1971, the ownership of the paper by Katharine Graham and the drive for the publication by Ben Bradlee, played in Spielberg’s film by Meryl Streep and Tom Hanks. This documentary provides a very interesting background as well is personal and career insights into Bradlee.

The film is linear in its presentation, using a great number of photos in the early part of the film, especially for Bradlee’s family, Boston origins, his bout with polio as a boy, bonding with his father, going to Harvard, barely passing, but involved in a project at Harvard examining over 200 young men and their physical and psychological development, his first marriage, his four years in the Navy and its effect on him, his work as a journalist, on the crime beat and then as foreign correspondent living in Paris, his second marriage, the strong friendship between him and his wife with the Kennedys, his exhilaration in sharing Kennedy’s campaign, home movie footage of visits with the Kennedys, and then the assassination. Bradlee was numbed. Then his sister-in-law was killed and her document revealed that she had an affair with Kennedy at the time that the families were together – and Bradlee’s wife, Tony, revealed that the President had accosted her.

The film shows Bradlee’s ambitions for the Washington Post to be a world-class paper, his collaboration with Katharine Graham, the decision to publish the Pentagon papers – and, very interestingly, the leads for the Watergate investigation, tracking the leads into the White House, persevering when no other paper did, leading to Nixon’s animosity and then to his resignation.

There is still some drama in the latter part of the film with African- American reporter, Janet Cook, the Pulitzer prize-winning piece of the addicted child in Washington, all exposed as fraud – with the Washington Post commissioning a long article admitting what had happened and preoccupation more about journalism than about the alleged child victim.

Bradlee married again, had a son with dyslexia and other difficulties, but spent a lot of time with him in his retirement.

The National Cathedral in Washington was full for his funeral. His motto was to tell the truth – and he was not worried about not being liked. He rehabilitated the status of the press in the 1970s with both the Pentagon Papers and the Watergate expose.

1. An HBO production, documentary, the quality of the research?

2. The point of view, the film based on Ben Bradlee’s memoir, his voice-over? His perspective on memoirs – or significant people, newspapermen? His motto of telling the truth, not to be liked?

3. The linear presentation of his life, career, episodes in his career, the cumulative effect?

4. The range of photos used, early photos of the family and his childhood, Harvard, the men in the project and their “eugenics� monitoring? His years in the Navy, marriage, the Washington Post, going to Newsweek? The range of home movies, especially with the Kennedy family?

5. The range of talking heads, his oldest son, his youngest son? Sally Quinn? Woodward and Bernstein? The range of journalists from the post, his friends, Jim Lehrer, Norman Lear by Tom Brokaw? Tina Brown? Members from the grant project at Harvard? His two sons?

6. His life, 1921 to 2014: from Boston, the status of his family, his education, contracting polio, the bond with his father looking after him? Harvard, the project, the reports, the information about him, handling situations, emotions? The Navy, marrying Jean, their son? For years in the Navy and his learning? After the war and no job?

7. The 1940s and 50s, to Washington DC, reporting, police cases, becoming foreign correspondent, living in Paris, the adrenaline rush for this kind of reporting? The encounter with Tony, marrying her? Going to Newsweek? The 1960s?

8. JF Kennedy and Jackie, all from Boston, talking, meals, friendship, the years of friendship, knowing the importance of his parameters for Newsweek and his friendship? Kennedy giving him the story of Francis Gary Powers? The domestic footage of the families together? November 22, the footage? The effect, the visual reminders? Bradlee and his reaction? His sister-in-law’s death, the revelation about the affair, the effect on him, the story of Kennedy flirting with Tony?

9. Going to the Washington Post, Katharine Graham and her ownership, Wall Street and the financial issues? His aims, world-class newspaper? The issue of the Pentagon Papers, the New York Times, Daniel Ellsberg and the contact? Publication, the injunction from the government, the Supreme Court? Nixon re-elected, his reaction? Forbidding the Washington Post at the White House? Ellsberg and his story, the decision of the Supreme Court, freedom of speech?

10. Watergate, the fact, the intruders, Hispanic, the CIA link, Howard Hunt, leading to John Mitchell, the phone calls, his reactions? Colson and his role? John Dean and his testimony? Ron Ziegler as the Press Secretary? Bradlee and his team following through? Woodward and Bernstein? Only the Post reporting the story? The New York Times missing out? The tensions, the decisions, the role of Katharine Graham? Leading to the issues of the tapes, the Senate hearings, the condemnation, Nixon and his TV talk and lies, his resignation, leaving the White House and the helicopter? Bradlee advising his staff not to gloat?

11. Success, All the President’s Men, the interviews with Robert Redford and his opinions, Woodward and Bernstein, Redford persuading Bradlee about Hollywood and the film? The Premier, Jason Robards and his swinging arm and brightly imitating it?

12. The Janet Cook story, from Toledo, her reputation, her report, the young addict, the Pulitzer prize? Her TV interviews? The expose, the fraud? Ben Green and his overall article and the confession by the Post?

13. 1991, the Post and its farewell to Bradlee, the emotions of the big staff?

14. His marriage to Sally Quinn, his son, the later years and the bonding, his son’s impediments?

15. His funeral, the speeches?

16. His achievement, his career, the personal issues and his regrets about hurting his former wives? His establishing the status of the press and its credibility?

THE BENSON MURDER CASE

US, 1930, 63 minutes, Black-and-white.
William Powell, William "Stage" Boyd, Eugene Pallette, Paul Lukas, Natalie Morehead, Richard Tucker.
Directed by Frank Tuttle.

This was the third appearance by William Powell as amateur detective, Philo Vance. He had appeared in Interference as well as The Canary Murder Case and The Greene Murder Case and was to be Vance one more time in The Kennel Murder Case. He had been starring in silent films, had emerged in The Last Laugh and was to have a career into the 1950s, generally the suave gentleman – and including the series of films as The Thin Man with Myrna Loy.

While the opening of this film is quite striking, the Wall Street collapse of 1929 with slick editing, multiscreen images, it soon moves into a rather static drama, generally confined to an office in Wall Street and to a country mansion where a murder takes place.

There are quite a range of suspects, the victim being a rather crooked stockbroker who has cut them loose at the time of the collapse. The suspects include the society woman with a secret, problems with jewellery, a dowager who lives in Paris and her gigolo friend, played of all people by Paul Lukas, another businessman played by William ‘Stage’ Boyd, as well as a butler played by Mischa Auer.

Philo Vance arrives as a guest of the country house, is present at the time of the murder, investigates, finds alibis for most of the suspects, is able to deduce, along with finding evidence, how the rival businessman committed the murder.

Eugene Pallette is along as the sometimes rather slow police officer but this time is very supportive of Philo Vance.

Direction is by Frank Tuttle who started work in the silent era and continued to the late 50s.

For fans of murder mysteries and of Philo Vance and William Powell.

I KILLED THAT MAN


US, 1941, 71 minutes, Black-and-white.
Ricardo Cortez, Joan Woodbury, Pat Gleason, George Pembroke, Iris Adrian, Ralf Harolde, Gavin Gordon.
Directed by Phil Rosen.


This is a small-budget supporting feature but is more interesting than most.

It opens with a murderer going to the electric chair, accompanied by the chaplain and the warden, a group of newspaper reporters being ushered into witness the execution as well as other characters with different motives for being there. The condemned man decides to expose the man who commissioned him for the murder and would promise to give him some kind of lessening of the sentence but had failed. Just as he makes his announcement to the group, he falls a dead. There is a poison dart in his neck. Which means that all those present in the room are suspects.

Present in the group is an assistant DA, played by Ricardo Cortez. He locks the doors, gets all those involved to strip, he and the warden having to follow suit, then gives back anything found in the clothes, this enabling the screenplay to introduce us to the range of characters present. The assistant DA decides to focus on a rather portly man who had been a friend of the condemned when he was a boy and who has a cigarette holder in his pocket (which he says he took from his darling daughter to prevent her smoking – and it is revealed she is 26!). He is remanded in custody.



The assistant DA’s girlfriend is a reporter and when there is a mystery about the closed doors and the delay in the execution, she starts to pursue the case. She is a strong character played by Joan Woodbury. Also effective in the cast is George B. Breakston as Tommy who staffs the phones in the office, is very observant on detail, reads all kinds of speculative books for crime solving.


The assistant DA explains to the chief that he does not believe the first suspect is guilty. Attention shifts to the very respectable businessman who is to become significant in government and with prisons. The girlfriend has a meal with him and ingratiate herself. Meanwhile, there is the condemned man’s girlfriend and the reporter also pays her a visit. She supplies a phone number which the assistant DA follows up, at the house of the respectable businessman finding that the phone call concerned his butler and a bet. The other suspicious character is the head of an association against capital punishment – but it emerges that he is a suave conman, soliciting funds and that he is the only member of the association. He had offered to help fund and appeal for the condemned man, is in the car with the girlfriend when she dies. He then is taken into custody.

The villain, the respectable businessman, in his charm to the reporter, asked the manager of delete the restaurant to cash her check. He misinterprets it – that it is to be a regular payout to the businessman. When the reporter discovers the money, she goes to his house, is threatened, the butler ringing the gangster to bring some thugs to get rid of her. However, the assistant DA and one of the reporters who has been hounding him arrive in the nick of time.

The clue is a reference to a book borrowed from the library which has a description of poisons which the businessman has disguised in a packet of pills for his stomach troubles.

Written in a quite a lively style, touches of humour, a good mystery with suspects.

BAR BAHAR/ IN-BETWEEN

Israel, 2016, 103 minutes, Colour.
Mouna Hawa, Sana Jammelieh, Shaden Manboura, Mahmud Shalaby, Henry Andrawes.
Directed by Maysaloun Hamoud.

An Israeli film but the focus is on Israeli-Palestinians?, activities in Tel Aviv as well as the towns they come from, including Nazareth.

The focus is on three women who, at the opening, seem to be leading something of a wild life, clubbing, preoccupied with their clothes and fashions, alcohol, drugs, sexual encounters. In fact, one of them is a lawyer, the other works in a restaurant kitchen but gives up her job and works in a bar. They share an apartment in Tel Aviv.

They receive a third young woman who is studying at the University and needs accommodation. She is rather more strict in long Muslim traditions, especially in her clothing, part of an arranged marriage system. However, she does go to the club and does enjoy some dancing.

The next focus is on the three women and their relationships. The lawyer encounters a man who has spent time in New York but who eventually is ashamed of presenting her to his family and she breaks off the relationship. The Muslim woman is raped by her fiance, supported by the women who threaten the man, and then goes to her father to break off the engagement – he being supportive. The third woman begins a lesbian relationship with a friend she meets at the bar, is ousted from her family by her indignant father.

The final image of the film is the three women sitting together, the audience having shared their experiences.

1. An Israeli production? Focusing on Palestinians living within Israel? In Tel Aviv, in Nazareth, country towns? The Israeli perspective?

2. The contemporary settings? The city of Tel Aviv? Apartments and sharing? Professional work, legal work? Restaurants and kitchens? Bars? Universities and study? Family life, the older generation? Club life and the young adults and their style? Clubbing, drinks, drugs, sexual encounters and relationships? The musical score, club music, contemporary?

3. The focus on the two women and their sharing the apartment? At parties, their lifestyle, clothes, make-up, drinking, drugs, at home at home? The co-sharer and her invitation for her cousin?

4. Leila, her work in the law, professional, discussions about cases, the flirtatious fellow-lawyer? Salma, working in the kitchen, reaction against the boss, leaving? Later work in the bar? The friendship of the two women, shared lifestyle?

5. The arrival of Noor, her Muslim background customs, dress? Studies, computers? Welcomed by the two women, her room? Her different lifestyle? Get going to the club, dancing? At home cooking? The family? The arranged marriage, Wassim as her fiance, their interactions, at home, his raping her? The consequences, nor, for Leila and Salma? Noor going into the ocean swimming, cleansed? Her friends showering her? Her stands against Wassim, his saying that the episode should have been forgotten, in the past? The pressure on him by the friends? Noor going to her father, the break, his supporting her?

6. Leila, life, friendships, collectors, meeting Ziad, his American background, the relationship? Her calling in, his sister, Ziad and asking her not to smoke in front of her sister his sister? Her being upset, his being unwilling to introduce her to his family? Telling him to get out of the car, the break?

7. Salma, meeting her friend, the bonding, the lesbian relationship? Her parents and the planned marriage? The visit home, the wedding? Her father’s reaction, sending her
friend away, denouncing his daughter, her leaving, bonding with her friend?

8. The final focus on the three women, the different lifestyles, yet their mutual support and friendship?

PLAY

Sweden, 2011, 118 minutes, Colour.
Directed by Ruben Ostlund.

Ruben Ostlund, a now celebrated Swedish director, began by making short films as well as a feature which observed a range of characters moving around the city, no fixed narrative, a boy playing a guitar as a sometimes focus, more of an experience of a video installation rather than a narrative film, Gitarrmongen.

There is something the same method in this film, in the city of Goethe Berg, focusing on a group of youngsters, African immigrants, who spend their time in a mall, have a technique of confronting other children, wanted to steal their mobile phones, one of the group are sympathetic, the other threatening. This method is repeated several times throughout the film.

Suddenly there is a group of red Indians dancing in the mall and then adjourning to a restaurant. There is also a train moving throughout the city, a mysterious cradle getting in the way of people, the youngsters getting on and off the tram.

There is also a competition where the victim children have to give up all their belongings, compete in a race to see can be the fastest – and, of course, they lose everything.

At the end, one of the fathers accosts the African group, being violent towards them as they were in their bullying of the younger children.

Ostlund was to go on to make an award-winning Force Measure and then win the Palm door at Cannes The Square.


1. A Swedish slice of life? Contemporary cities? Children? Bullying? Authorities?

2. The work of the director, films of observation of people and activities?

3. Gotheberge, the city, the malls, public transport, the countryside? Sense of realism? Musical score?

4. The screenplay, focus on children in the mall, the gang, African background, immigrants? The target groups? Young children? Mobile phones? The activities, the threats, intimidation, thieving and bullying? The different groups of children, boys, on public transport? Out in the hills, the competition about who was the fastest? The aftermath and the parent confronting the boys?

5. Audience response to the children? The Swedish children? The African migrant children? Asian background boy with the cornet? The focus on boys?

6. Ordinary life at the mall, people passing by? The boys, the issue of mobile phones, accusations of stealing, the scratch on the phone? The technique of the gang, the friendly approach, the threatening approach, psychological games, the intimidation? The repeat of the approach with different children?

7. The hostile game, the members, their age, interactions, techniques? In public transport? The boy wanting out and the bullying?

8. Going out into the hills, the competition about who was the fastest, all the possessions in the heap, the boys losing everything? The fears, allowing themselves to be bullied?

9. The insertion of the entertainment group in the mall, Red Indians, full dress, the dancing and singing, having the meal?

10. On the tram, the issue of the cradle, in the way, the announcements? The boys seen with the cradle?

11. The later episode with the parents, the harsh treatment, bullying?

12. The postscript, the boy and his playing the music, the girl singing…?

JOHN DIES AT THE END

US, 2012, 99 mins., colour.
Chase Williamson, Robert Mayes, Paul Giamatti, Clancy Brown, Glynn Turman, Doug Jones, Daniel Roebuck, Fabianne Therese, Jonny Weston, Jimmy Wong, Tai Bennett.
Directed by Don Coscarelli.

John Dies at the End became something of a cult movie. It had the advantage of being written and directed by Don Coscarelli who made an impact with his Phantasm films and then the Beast Master series. He also had a win with his bizarre imaginative fantasy, Bubba Ho -Tep.

This is also a film of wild imagination, set in the present but moving into a range of alternate times, parallel universes, a different Earth.

Chase Williamson plays David Wong, and easy-go-lucky type. The screenplay is based on a graphic novel by David Wong. Robert Mayes is John, his close friend. There are quite a number of other friends who get into the act, a reporter called Arnie played by Paul Giamatti, a young woman with an injured hand, a drug dealer with a Jamaican identity, an African- American detective, a superhuman computer called Korrok as well as other assorted characters.

At the centre of the action is a syringe with lethal injections of Soy Source which transforms those injected, they see creatures, evil forces being unleashed.

Because of the timeshift, John dies before the end and, at the end of the film, is seen playing basketball with Dave as the two of them have a mission to become demon hunters.

For those who like conventional narratives, not. For those who enjoy of comedies which move towards the farther-out, a cult film.

1. Science-fiction-fantasy? Plausible? Beyond imagination?

2. The work of the director, Phantasm, Beast Master series, Bubba Ho- Tep?

3. The setting, the anonymous American city? The musical score?

4. The introduction to David Wong, a slacker, meeting the zombie, the head, David beheading him, the axe?

5. Arnie appearing, reporter, the events, the recounting, his accompanying David?

6. The life of the party, John, Fred, Justin White, Amy Sullivan? Her hand? The dog, Bark Lee? Biting, the dealer, Jamaican identity? The dog disappearing, with the car?

7. The focus on John, his apartment, the creature in the apartment, John seeing it, David not? The syringe, Soy Source? The injections, breaking open knowledge? The shift into alternate times, parallel universes? John and Dave and their communication, the past and the present?

8. The car, Dave, the syringe, injected, travelling? Roger North in the back seat? Advice, disappearance?

9. The detective, Laurence Appleton, the interrogation, the party, drugs, deaths and disappearances?

10. The bizarre times, Arnie and his fear, the monster?

11. John, his death, making contact, David the escape, the ghost as the policeman – leading to the mall? Appleton burning? John disappearing? Soy Source and its unleashing an evil force? Appleton shouting at David, bullet, Bark, the car, going to the wall, demented?

12. The group, at the mall, the door, Appleton and the killing, the swarm of deadly insects – and moving into Fred? Power to kill?

13. Amy, the escape, using her limb? North? The appearance of Albert Marconi, the psychic and his influence, media reputation, activities?

14. Korrok, Supercomputer, controlling, playing God, killing? The role of the Soy Sauce? John and Dave, the LSD, the bomb?

15. The alternate Earth, Korrok and the mission, to devour Dave and John, the bomb, the dog taking the bomb and saving everyone?

16. The role of the demon hunters, the mission of Dave and John?

17. Arnie, the decision to publish, only as a ghost, the body in the boot of the car?

18. The final basketball sequence, John and Dave and their mission?

MONKEYBONE

US, 2001, 93 minutes, Colour.
Brendan Fraser, Bridget Fonda, John Turturro, Chris Kattan, Giancarlo Esposito, Rose Mc Gowan, Dave Foley, Megan Mullaly, Bob Odenkirk, Lisa Zane, Whoopi Goldberg,
Directed by Henry Selick.


A bizarre film, to say the least! And ordinary audience will find it too “out there�. Cult film audiences who like something beyond “out there� may become devotees.

The film was based on a graphic novel and its central character is a cartoonist, Stu, Brendan Fraser. His girlfriend is Julie, Bridget Fonda. His creation is a devilish monkey, Monkeybone, full of mischief – in cartoons and in short films.

Stu has an accident goes into coma which enables him to inhabit the world of Monkeybone. Monkeybone is certainly mischievous, and he is voiced by John Turturro. All kinds of characters are encountered in this cartoon world including Death, played by Whoopee Goldberg. Stu is in hospital, Julie trying to help as she is a doctor – and there are return sequences to the live action as people are concerned about Stu and his health.

Stu’s friend and agent, Dave Foley, is trying to exploit the situation. Stu’s sister, Megan Mullaly, antagonistic towards her brother, is determining whether to turn off the life support or not – with Stu having a mission to solve all his problems before that happens.

In his imagination, there are several characters from Greek mythology including Hypnos, Sleep, with whom he does a deal. There is also the body of a dead gymnast, Chris Kattan, with Stu inhabiting him and Monkeybone and moving in and out.

Director Henry Selick made a number of short animated films but was successful with Tim Burton’s The Nightmare Before Christmas. He also made a version of Roald Dahl’s James and the Giant Peach.

Fans of the film enjoy comparing it to a range of fantasies, especially those made by Tim Burton as well as mysterious worlds like Dark City.

One enthusiast called it “a beautiful nightmare�.