GAMBLER’S CHOICE

US, 1944, 69 minutes, Black and white.
Chester Morris, Nancy Kelly, Russell Hayden, Lee Patrick, Lloyd Corrigan, Sheldon Leonard, Lyle Talbot.
Directed by Frank Mc Donald.

This is an entertaining small feature from the war years, a throwback to the atmosphere of some of the 1930s films about youngsters growing up in city slums then becoming adults and making good.

It was directed by Frank Mc Donald who also directed Chester Morris in Wrecking Crew.

In 1897 three children are involved in stealing from customers at a barbershop and taken before the courts and sentenced to orphanage life. One has a harsh father but grows up a self-confident man with interest in making a success of gambling joints. He is played by Chester Morris who also appeared in Wrecking Crew, a star of the 1930s and, at this stage, involved in the series of Boston Blackie films. Nancy Kelly appeared at this time in the comedy with Chester Morris, Double Exposure.

The other young boy grows up to be a straight up-and-down policeman, involved in anti—corruption campaigns but allowing himself to become involved in a scam to save the father of the young girl, now a singer in clubs. Her father is an incorrigible conman. Russell Hayden is the policeman, Nancy Kelly the singer, Lloyd Corrigan the father. Sheldon Leonard has a role as a rival gambling proprietor. Lee Patrick is the older woman who lends money to Chester Morris for his enterprise but then is discarded by him.

Nothing particularly new, but rather entertainingly done.

1. An entertaining programmer? Of the 1940s? Familiar material?

2. The 1890s, later decades? The American city, the slums? The gambling saloons? Police precincts? The world of crime? The entertainers? The musical score? Songs?

3. The end of the 19th century, the children in the slums, their age, singing, the barbers, Ross and his stealing, the pursuit? In the courts? Ross and his father, treatment? Mike and his background? Mary and her conman father?

4. The three as adults, Ross, his personality, making good, the world of gambling, tough attitudes, his work? The relationship with Fay Lawrence, her husband, finance, the sexual relationship? Her lending the money? His callous breaking with her? His rival, Chappie? Ambitions to take over, his aides? Mike, the police background? Mary, her reputation, her singing, the clubs? Reunited? The happy scenes together, memories of the past? Possibilities for the future?

5. Mary, her singing, her life and career, her father and his endless confidence tricks and obedience? Singing in Chappie’s club, Ross wanting her? Her attraction towards Mike?

6. Mike, police, straight up and down? The campaigns against corruption? The people recruiting him, his staunch stances? Yet Ross counting on him? Mary’s father, his difficulties, the money, Chappie and co, preparing the trap for Mike? His resignation? The buildup to the solution, Ross and his intervention, saving Mike?

7. Ross, his success, expanding, his men, the rivalry? Fay Lawrence and her animosity? Chappie? The setting up of the frame?

8. Mike, framed, honourable? Ross learning the truth, rectifying the situation? The father and his desperation? Chappie, the setup, the shooting? Ross and the blame?

9. The resolution, decisions, and Mike and Mary together?

THE EREMITES/ DIE EINSIEDLER

Germany/ Austria, 2016, 100 minutes, Colour.
Andreas Lust, Ingrid Burkhard, Orsi Toth, Hannes Perkmann, Peter Mitterrutzner.
Directed by Ronnie Trocker.

This is a film which can immerse its audience in the world of the South Tyrol. The landscapes are impressive, the mountains and their peaks, the settlements with cattle at the tops of the mountains, the farms below. There are also the modern towns, factories and a local quarry.

The film shows something of life on top of the mountains as well is in the town below. The old father and mother on the traditional farm work very hard, but the father eventually dying. The son visits frequently but his job is down below, in the factory, at the quarry.

However, there are difficulties with the factory and the quarry, changes in ownership and methods, threats to the job of the son. He is also involved with a migrant worker and faced with the dilemma of leaving behind the traditional farm above and life in the town below.

1. The story of the South Tyrol? The mountains and farms, the towns, the quarries and the factory? Local atmosphere?

2. The location photography, the mountains, forests, the seasons? The chairlift? The town, ordinary life, contemporary? The quarry and the work? The overwhelming avalanche? The final train ride? The musical score?

3. The title, the outsiders, old, slowing down, old ways, ageing and dying, the passing of an era? Heritage for the succeeding generation?

4. The opening, the funeral, the prayer? The religious background, images of Mary and Jesus, the crucifix? The surface religion, deeper and challenged through suffering? Marianne shooting the crucifix? The seemingly godless ending?

5. The audience interest in this old world, Rudl, the cattle, Marianne, the milk, heavy loads, their meals, the son bringing newspapers from the town, sleeping? Husband-and-wife? The history, the death and the avalanche? Albert, helping, his father and chairlift, the broken down engine, father injuring his leg, walking up the slopes, the various jobs, Marianne and managing, the cattle and the goats, her husband’s collapse, burying him? Her severity on Albert, her work ethos, urging him to get money, yet she saying she had all she needed? The visit to the town, milking the cattle, the effect of noise, the dead cow, killing the horse, her going to bed, quietly dying? Her son burying her?

6. Albert, his life, age, leaving the farm, working the quarry, his skills, getting the engine from Gruber, helping his father, searching for him, finding him dead? The bond with his mother? The bond? Fixing the engine? Going to his mother, her death, burying her? His being fired? On the train, searching for Paolo, the dark in the tunnel the end?

7. Gruber, his help, the engine, taunting Albert about Paola, disappearing? The other workers, the attention to detail of the quarry, explosions? The finished articles? The boss, the itinerant workers, hiring and firing?

8. Paola, Hungarian, working the quarry, relating to Albert, decision to go?

9. The audience immersed with the people in this culture?

KEANU

US, 2016, 100 minutes, Colour.
Jordan Peele, Keegan- Michael Key, Tiffany Haddish, Method Man, Darrell Britt- Gibson, Jason Mitchell, Luis Guzman, Will Forte, Neil Long, Rob Huebel.
Directed by Peter Atencio.

This is a film for the African- American audience – but it will amuse most Americans and entertain worldwide audiences who pick up on it since of humour.

The film was written by Jordan Peele, directed by Peter Atencio who directed the television comedy series featuring Jordan Peele and Michael Keegan-Key?.

The two are quite opposite, Jordan Peele is a somewhat roly-poly sensitive type, lamenting that his girlfriend left him, while Keegan- Michael Key is the straight up-and-down character, happily married. The two portrait cousins.

However, this is a cat film – with an attractive cat going into the apartment of Jordan Peele and his name in the cat Keanu (for Matrix reasons). All goes well except that the cat belongs to some gangsters who are eager to recover it. This leads to all kinds of shenanigans, especially with the pair getting into the presence of the drug dealers and pretending themselves to be expert dealers. So, all kinds of physical comedy, pratfalls, misunderstandings, dangers and threats – and some repartee between the two.

Definitely for fans of the duo but also for fans of cat films.

1. The personalities of Jordan Peele and Michael Keegan Key? The television programs? Their fans? Moving into movies?

2. An LA story, African- American, limited presence of white characters? Impact for African- American audiences? American audiences? Beyond America?

3. The humour, verbal, situations, pratfalls, mimicking voices and behaviour?

4. The musical score, African- American style? The tribute/satire to George Michael and Wham? The song, the video clip? Clarence teaching the young men to sing Wham songs?

5. The prevalence of movie references?

6. Keanu, Keanu Reeves, references to the Matrix?

7. The drug world, the factory, the Allentown Duo (and Peel and Key impersonating the drug lords), the attack, the shooting and body count, the acrobatics, the man who tried to steal money, his death? The Allentown duo and their reputation?

8. The presence of the cat, wandering through all the shooting? At the door, in the street, going to Ralph’s house? Ralph, his wife leaving, his being in grief, the affection for the cat, calling it Keanu?

9. Contrast with Clarence, his style, being accused of sounding white, his language, accent, vocabulary, his love for George Michael and Wham songs? His wife, the kids going to camp, the white father, the phone call and his suspicions about his approach, Clarence’s anger?

10. The raid on the house, the disappearance of the cat, going to see the neighbour, his being a drug dealer, the rivalry, the wrong house raided? The personality of the dealer, white, with Ralph and Clarence? His later being taken and in the trunk of the car?

11. His giving the information about Cheddar, going to the club, meeting Hi C, the drugs, getting, Ralph and Clarence mimicking the druggies, the violence and the music?

12. The club, going in, the style, the encounter with Cheddar, talk about deals, his having the cat, trying to deal to get the cat, mistaken for the Allentown duo, their being
interrogated about their exploits, having to do the somersaults? The reactions, Cheddar thinking they were bargaining about the money for the drugs? Having to go out on the job?

13. Ralph and his going with Hi C, Anna Faris and the buying of the drugs, the talk about her career, the carry on, her friends, the drugs, her daring Ralph to shoot? His being upset, Hi C taking the gun, shooting everyone, the escape? Ralph saying that he was not legally responsible?

14. Clarence in the car, the young men, discussions about music, George Michael, teaching them how to sing the Wham song?

15. Cheddar, his reaction, they’re being unmasked?

16. The Allentown duo, capturing Ralph and Clarence, their wanting the cat, the getting the guns, shooting the duo?

17. Cheddar taking them to the Hispanic dealer, his henchmen, the deals and discussion, the cat belonging to the Hispanic man and his wanting it back? The confrontation between the two gangs, the shootings, the body count? The participation of the young men?

18. Cheddar, confronting Ralph and Clarence, Hi C revealed as cop, Anna Faris and the others revealed as undercover collaboration? Cheddar shot? The surrender of the young men?

19. Ralph, in love with the cop, the kiss, his being arrested, going to jail, the visits? Clarence, his anger at the white father, the sexual encounter? Visits?

20. And the reinstating of Keanu?

ERSKINEVILLE KINGS

Australia, 1999, 82 minutes, Colour.
Martin Dennis, Hugh Jackman, Andrew Wholley, Aaron Blabey, Joel Edgerton, Leah Vandenberg.
Directed by Alan White.

Erskineville Kings is a slice of Sydney life, action taking place over one day. It shows a young man returning home from the Queensland canefields after two years, his having left home because of his abusive father. His father is now dead.

The central character, Barkey, is played by Martin Dennis, actor and playwright who has adapted his play for the screen.

The film is also an early screen opportunity for Hugh Jackman who was famous on stage but was to move into films and onto the international screen. Joel Edgerton also has a supporting role but it was to take some time for him to emerge as an international star and film director.

The film captures the atmosphere of the Sydney suburb of Erskineville, the streets, homes, shops, pubs…

Is also strong on the interactions between the two brothers, the older brother, Hugh Jackman, resentful of his younger brother walking out on the family. There is also his former girlfriend and the question of whether they can rekindle their relationship.

Small budget but effective independent filmmaking.

1. A slice of Sydney life? The 1990s in the 20th century?

2. Sydney, the status of Erskineville, the streets, flats, the pub? Restaurant? The musical score?

3. Martin Dennis as writer, actor, reworking his stage play? His perspective on the characters and situations?

4. Action taking place over one day?

5. Barkey, his arrival at Central Station, trying to get to Erskineville, the ticket seller? The train, arriving in the suburb, seeing the house for sale, Wayne and the video shop, their friendship, talking, Wayne inviting him to stay with him? His looking to his brother? Going to the house of Copper, meeting Wace, their meeting Aaron and his course remarks? Writing for the funeral?

6. Barkey, his life, the flashbacks to his father, drinking, the belt brutality? Harsh memories? His memories of his mother, her leaving? The clashes with Wace? Leaving home, leaving Lanny and his love for her? Coming back to the funeral, reacquainted with his friends, memories of the canefields, away for two years?

7. Hugh Jackman as Wace, the older brother, his story, still alone, yet with his friends? His bad memories of his mother? Standing for his father? Urging Barkey to face the world as real? His stances against his brother? His friendship with Copper, Copper driving, helping him with his father’s death? Playing pool and the pub, the taunts, drinking, and, standing up for his father, caring for him, his death? The strong character?

8. Friends, hospitality and support? Trying to control Wace? Aaron, his blindness and Bob Garrity? Wayne and his world?

9. Lanny, family, her life, studying, the talk with Barkey, the meeting at the restaurant, arriving at the end?

10. Slice of life, family drama, antagonisms – and possibilities for reconciliation?

HANDSOME DEVIL

Ireland, 2016, 95 minutes, Colour.
Fionn O' Shea, Nicholas Galitzine, Andrew Scott, Moe Dunford, Michael Mc Ehlatton, Ruairi O' Connor, Mark Lavery, Jay Duffy, Ardal O' Hanlon, Hugh O' Conor.
Directed by John Butler.

There has been a long tradition of films about boys’ boarding schools, some comedies about difficulties, some dramas about misfits, rebels, some clashes between students and teachers, some physical violence, sexual abuse.

This one, set in Ireland and filmed in an actual Rugby school, starts out fairly conventionally. A young student, need (Fionn O’ Shea) gives his voice-over version of his father after his mother’s death, marrying his young stepmother, their living in Dubai, his resentment at having to go to boarding school and his giving serious consideration to being expelled. As soon as he arrives, he is the subject of sneers and bullying. But, he has a room to himself where he can be quiet, play his favourite (older) music, take refuge from the other students.

He soon tells us that the preoccupation of staff and students is Rugby, past tradition of winning (though not lately) and the preoccupation with the sport, bolstered by the enthusiasm of the Rugby coach, Paschal (Moe Dunford). The principal shares the preoccupation and has quite an open attitude toward some of the teachers and students – though he wishes that they were devoted to Rugby.

Ned peace is disturbed when a troubled new student, expelled for fighting from his previous school, Connor (Nicholas Galitzine) is to share his room. He has a reputation as a Rugby champion – and has scenes of opportunity, training and play, to demonstrate this fully. Some of the team members are bullies and, insinuating that Ned is gay because of a film poster on his wall, purge Connor to be cautious. When Ned finds him doing push-ups, he puts up a barrier between the two beds, his own Berlin Wall, and keeps aloof.

In the meantime there is a new English teacher, Mr Sherry, a very interesting and provocative performance from Andrew Scott (Benedict Cumberbatch’s Moriarty). He wants students to think for themselves, exercises a discipline, is not particularly interested in Rugby, but encourages Ned and Connor who have found some bond in playing guitar and songs to prepare for participation in an interschool concert.

By this time, the audience may will be alert that there will be sexual identity themes, not quite as predicted, perhaps predicted with Mr Sherry, but making the relationship between Ned and Connor very awkward, so much so that Connor wants to opt out of the final match to win the championship.

Early in the piece, Ned tells us that there are moments in life that we will always truly regret – and there is certainly one here in his treatment of Connor. However, the experience of school, his not fitting in, his beginning to have a friend, enables him to defy his parents and try to persuade Connor to come back for the match.

This is a film about tolerance but, more, about understanding, especially about sexual identity and enabling people to be themselves, to be honest about their identity – which makes the team confrontation in the dressing room and the final expected Rugby triumph all the more joyous and exhilarating.

Handsome Devil (not really the most helpful title) obviously campaigns against homophobia – and has a sincere hope that there will always be understanding outcomes.

1. High school story, all boys, Irish? Arts, sport? Principal, teachers, classes? Identity?

2. The high school locations, the interiors, the sports field? The concert area? Gay club? The train ride? The musical score?

3. The title, with reference to Connor and its meaning?

4. The focus on Ned, his age, his dead mother, his voice-over, father, new wife, the comments in the car, not wanting to go to boarding school? His arrival, the bullies, talk with the principal, his own room? Contemplating being expelled?

5. Life at the school, the assembly, the principal and his talk, turning to Rugby, praising Paschal and the team? The teachers being present? Classes, Mr Sherry introducing himself, discipline, the essay, choosing Ned to read his, Ned plagiarising the song, Mr Sherry’s reaction, throwing his essay at dead, urging people to have their own voice?

6. The range of bullies, Rugby players, taunting Ned, homophobic?

7. The arrival of Connor, his age, experience, fighting at his previous school, with his mother, the discussions with the Principle, to share Ned’s room, Ned seen him doing the push-ups, antipathy, the group of footballers meeting, tearing the foreign film poster from the wall? Ned putting up the barrier? The team expectations, Paschal and his expectations, Connell and his playing school, the play and the manoeuvres, place in the team?

8. Connor finding net playing the guitar, the music bond, playing together, the possibility for sharing, Mr Sherry and the idea of their performing together, the rehearsals? The two becoming friends?

9. The concert, Connor not going, Ned and his poor performance? Ned wandering the town, following Connor, the gay bar, Connor entering, seeing Sherry with his friend, Ned seeing and understanding Connor? Connor returning by train, the encounter with Mr Sherry, the discussions, cover, Connor urging Mr Sherry to be honest?

10. Norman and is telling the audience that there are occasions when the worst thing happens or is done? The motivation for his denouncing Connor? Walking out through the assembly?

11. Connor, the disappearance, Ned and his parents taking him away? Ned shamed, getting out of the car, the decision to find Connor, find the boat, talking with him, persuading him that there was still time to come back and play?

12. The championship, Connor returning, the team playing, the dressing room, Paschal and his antipathy, homophobic, challenge to the team, refusing Connor permission to play? The gradual moving of the members of the team to Connor’s side? Playing, and the joy of the win?

13. The principal, excited, Mr Sherry and his introducing his partner, the joy of the victory – and the moral about identity, being oneself, understanding of sexual identity?

CAPTURING MARY

US, 2007, 104 minutes, Colour.
Maggie Smith, Ruth Wilson, David Walliams, Danny Lee Wynter, Gemma Arterton.
Directed by Steven Poliakoff.

The Mary of the title of this film is played by Maggie Smith. However, there are two time sequences in the film and the younger Maggie Smith is played by Ruth Wilson.

The older Mary visits a central London house, rather grand style, being looked after by the caretaker, Joe (Danny Lee Winter). Joe had been introduced in a previous film, Joe’s Palace, where he was caretaking the house for its owner, Michael Gambon.

The film has been written and directed by Steven Poliakoff, prolific writer and director with contemporary interest in these films as well as a delving into the British past, The Lost Prince and Glorious 39.

Maggie Smith has not been in the house for some decades and wanders around, helped by Joe, a delving back into her memories, social parties at the house, celebrities, and interaction with the mysterious stranger, played by David Williams, who pursues her, has all kinds of information about the guests, having some kind of hold over Mary.

While the film does show some of the consequences of Mary’s visit to the house and her memories, the most vivid parts of the film concern the parties in the past, Mary going to the kitchen of the house, being trapped downstairs by the stranger, by scenes in Hyde Park and the stranger’s hold over her.

As with most of Poliakoff’s films and plays, there is always a sense of strange mystery.

1. The title, the focus on Mary? Her experiences as a young woman? The older woman, coping?

2. The London settings, the postwar past, the house, the rooms, the parties, the cellar, the kitchen? The present, the front door, the house, the emptiness, well-kept, the rooms, the cellar? Revisiting? The parks? Musical score?

3. The director, the writer, his themes, British themes and British history?

4. Joe, the caretaker, the rules, Mary at the door, letting her in, talking, the tea, mopping the spilt milk, the offer of the tour, the different rooms, his listening, his responses, asking questions, eliciting a response from Mary? His standing for the audience? Going to the park, offering help?

5. Mary, her arriving, her age, going in, her reactions, Joe’s response, the cup of tea, the spilt milk, her memories? The flashbacks, the tour, the different rooms and her experiences, the effect of her remembering? The cellar and Greville White and his presence, his sinister stories?

6. The past, Mary’s age, writer, success, the reputation, columns, subjects, invitations to the parties, Ranger parties, the celebrity guests, her experiences? Greville White and his presence? In the kitchen, the glass of water, his presence, talking with her, the parrying of the conversation, going to the cellar, his power, his stories, her disgust, his influence? Her wanting to leave?

7. Greville White, David Walliams’ screen presence, his reputation, look, manner, invited to the parties, knowing everyone, dapper, interactions with people, his influence? Liza and her relationship with him? The presence? With Mary, in the kitchen, making his salad, talking, going to the cellar, the ugly stories and the repercussions for Mary? His hold over people because of his knowledge? His apology, exercising power for Mary, Mary’s leaving? Liza with the letter and Mary disregarding it?

8. Mary, a different life, sacked from the paper, the travel, the partner and his art, socials, openings, sitting on the steps for the breakup? Her subsequent life?

9. The house, the party, Greville White and his presence, avoiding him? Talk, Liza present?

10. Mary, the overall effect of revisiting us, going to the park, the hallucination and seeing Greville White? His calling to her?

11. Joe, going to the park, meeting with Mary, her sending him away? Her finding some peace?

GLEASON

US, 2016, 110 minutes, Colour.
Directed by J. Clay Tweel.
Gleason is a very moving American documentary, screened at the 2016 Sundance Film Festival and going on to be nominated for many awards for Best Documentary.

The film focuses on Steve Gleason, a man with a strong NFL reputation, various football sequences included, from his early days in north-west US and to his status as a player in New Orleans. The film creates the atmosphere also of post-Katrina New Orleans.

Steve Gleason is diagnosed with Amyotrophic Lateral Sclerosis – a terminal disease which takes over the sufferer’s body. He decided to make a video record of his illness to be able to hand onto his children. He is supported strongly by his wife.

With the video material, the film is able to indicate the growing deterioration of Steve Gleason, the witness of his body, the difficulties in communication. It also features his ability to cope with this illness – along with so many moments of despair and seeming inability to cope. All the while his strongly supported by his wife and family.

He also takes up the cause of those suffering from ALS, fundraising for investigation, research and treatment, many social events which gain national support.

While Gleason has his moments of suffering and sadness, the overall impact of his health deterioration and personal journey are very positive – which lead to a film of substantial humanity rating serious questions about the meaning of life, suffering and how to deal with suffering.

1. An acclaimed documentary? American? The American ethos? Universal impact?

2. Locations, Washington State, Louisiana, New Orleans? The musical score?

3. Steve Gleason, his football reputation, the football sequences and their insertion, in Washington, his skills and play? In New Orleans, post-Katrina? His becoming hero, his presence in the Superdome? The statue of his action?

4. The portrait of an American man, the diagnosis of Amyotrophic Lateral Sclerosis? Having to deal with his illness, his life as a husband, his wife’s pregnancy, the birth of Rivers? The director and five years of filming, very direct, background, interviews, Gleason in close-up? The editing choices of what to include and omit?

5. Steve, talking to camera, over the years, his reaction to the diagnosis, the prospects of years and ill health, his weakening, the debilitation, physical, mental, emotional, the spiritual challenge?

6. The disease, the memories of baseball player, Lou Gehrig? The doctor and the diagnoses, the discussions? The role of Michelle, a lively woman, the flashbacks to the wedding, her extroverted style? The continued support, close to her husband, sharing the treatments, caring for him, the medications and procedures, the months, going into years? Steve and his becoming weaker, the connection between the brain and his lack of mobility, yet his intelligence while his speech diminished? The swimming, being carried in the chair, his love for Rivers, playing with him? Losing his capacities, his interactions, the Superdome and celebrity, his loss of bowel control and having to be helped, the full-time nurse and associate, the other nurses? The touches of despair? Hope?

7. The interviews with his father, a hard man, his wife leaving? Religious, biblical, rather literal, issues of faith, Steve’s interviews with his father over the years, the father reassessing his life? The brief interview with his mother?

8. Michelle, exuberance and tough, faithful, caring for Rivers, the discovery of her capacity for art, the drawing, the possibility of an exhibition? Living with Steve’s moods, her own moods?

9. The foundation, motivation, his involvement, the board, the variety of occasions in meetings, functions? The public response? The ice bucket? The political consequences, the final legislation?

10. Pearl Jam, the singers and players, supportive of Steve? The interviews?

11. Issues of speech, the need for computer equipment? Costs? Campaigning for others to benefit?

12. Steve’s intentions for heritage Rivers, playing with him, being a dad, the blogs, and filming for his son?

13. The picture of illness and of the human spirit?

THE ADDERALL DIARIES

US, 2015, 87 minutes, Colour.
James Franco, Ed Harris, Amber Heard, Jim Parrack, Cynthia Nixon, Christian Slater, Timothee Chalamet, Wilmer Valderrama.
Directed by Pamela Romanowsky.

With the word diaries in the title, audiences need to be alert that this is not a smooth, novel-like narrative but rather snippets and clips of characters and events from a diary.

The film is a star vehicle for James Franco, prolific in his writing, acting and directing. Here he writer Stephen Elliott, who was written his biography which implies strong criticism of his father, played by Ed Harris. There is antagonism between father and son, the father disowning the book – until later, some reconciliation between the two of the father backing down.

In the meantime, the writer has collapsed relationships, experiences drug addiction and dependence, and his life is in a mess.

He becomes interested in a murder case, a man accused of murdering his wife – Christian Slater in court sequences. While a friend of the accused does confess to some murders, he does not confess to the murder of Slater’s wife who stands trial and is found guilty.

With his own difficulties, and relationships (Amber Heard) the writer decides to keep a diary record of the trial, overcoming some writer’s block, following the trial and exploring the characters.

There is quite a lot going on in the film, the variety of strands of the writer’s life, relationship with his father, interest in the case, making for a rather complex narrative, not always easy to follow.

1. The impact of the film? Real? Fiction?

2. Stephen Elliott, his life, his writings, the quotation at the beginning about stories, memories? The other films on his themes of life?

3. Locations, American cities, homes, the past and the present, the bookshop of the readings? The musical score?

4. The contrast with the court sequences?

5. The work of writers, success, writer’s block, years, outlets, being urged on by publishers and editors? Stephen Elliott, success, the reading, his father’s presence and announcing him, the discussions with his brother, his editor and her urging him on, plans, missing out on opportunities? His having to face the truth, true memories and falls memories, conflation of memories?

6. His boyhood issues, the clashes with his father, his father’s drinking, his mother, leaving, his father’s other family? His younger brother? Going to the other family and
bashing the windscreen of the car? His life, angers?

7. Stephen Elliott as an adult, his writing, stating his father was dead, not having seen him for seven years? Fiction and truth? Memories? His discussions with his brother and his brother’s ordinary life and family? The fighting with his father, his father’s visits, the discussion about particular incidents, his father explaining what actually happened, Stephen and the conflation? His father’s illness, wanting reconciliation, Stephen not believing him, his collapse, the hospital? Some kind of acceptance?

8. Stephen, his experience of drugs, leaving home, his father letting him go, the effect? Sexual behaviour, the meeting with Lana at the court, the court case with her, at home, sexual encounter, the sadistic sequences, Lana not being able to continue with him?

9. The background of the court case, the information, the case itself, Hans and his wife, denial that he committed murder, in court, the trial? His attitude towards his wife, protecting his children? Stephen making contact, wanting to write the book, memories of Truman Capote and Norman Mailer? Hans being found guilty? Stephen going to the prison, making contact with him again?? Stephen’s presence during the trial, his interest in a project?

10. Issues of truth, different perspectives on the truth, admitting being wrong, some hope?

BONE TOMAHAWK

US, 2015, 132 minutes, Colour.
Kurt Russell, Patrick Wilson, Matthew Fox, Richard Jenkins, Lili Simmons, David Arquette, Sid Haig, Katherine Morris.
Directed by S Craig Zehler.

The Anonymous synopsis writer from the IMDb sums up this graphic film:
After an outlaw unknowingly leads a band of cannibalistic Troglodytes into the peaceful western town of Bright Hope, the monsters kidnap several settlers, including the wife of a local rancher. Despite his injured leg the rancher joins a small rescue party with the sheriff, his aging deputy and a strong-willed gunslinger. What follows is a journey into hell on earth as the posse comes to realize it is up against a foe whose savagery knows no bounds. The film takes place at the turn of the century around the border of what is now Texas and New Mexico.

The film has a very strong cast, headed by Kurt Russell, the rancher, searching for his wife, with injured leg but stoically going forward. He is accompanied by Patrick Wilson and Matthew Fox. Richard Jenkins and David Arquette are in support, as is Sid Haig, veteran of a number of films with horror overtones.

While the film has a Western setting and Western characters, it moves into the horror genre with its portrayal of the cannibals, visual presentation of them, white make up, cruel, keeping guard, destroying and devouring.

It is not surprising that the film was nominated at many horror festivals – while keeping the framework of the traditional Western.

1. 21st-century Western? Looking back at the West, its isolation, law and order, the Indians, the clans? Violence in the old West?

2. The title, the Indians, the cannibal tribe, their life, style, weapons, aggression?

3. The recreation of the West, the 19th century articulate vocabulary and style? The town of Bright Hope? Homes, the saloon, the sheriff, life in the town, the background of the Desert, the desert terrain, the mountains, the cave? The cave and the interiors? The feel of the West? The musical score?

4. The prologue, the two prospectors, killing the strangers, robbing, leaving? The Indian cemetery? The man killed by the arrow, the other escaping to the town, burying his goods, going to the saloon, the encounter with the sheriff, his running, shot in the leg, his being tended by Mrs O’ Dwyer? The abduction?

5. The stable, the young man going to the horses, his brutal death, the weapons? The abduction of the stranger, Mrs O’ Dwyer and the police assistant? The discovery of what happened, in the barn, in the house? The mayor and his dignity, his wife’s demands? In the saloon, the Indian refusing to go, the other members of the town? Chicory and his being deputy? Brooder and his status in the town, the gentleman, the Indian fighter?

6. The O’ Dwyer’s, their life, Samantha and her medical skills, and his injury, at home, the bond between them? Samantha and her going to tend the stranger? The abduction? The effect on Arthur and his reading the letter?

7. The sheriff, his wife, the bond between them? The sheriff being an honourable man, the situation, organising the posse, the discussions, the problems, farewell to his wife, Chicory going to the cemetery, his bond with his wife, the farewell to Nadine? Brooder and his story?

8. Arthur, upset, deciding to go, the dangerous situation with his leg?

9. The trek, the discussions, camps, Chicory and the range of stories that he told, Brooder and his story, the death of his mother and sister, the many Indians killed? The Mexican strangers, Brooder killing them? The ambush and taking the horses?

10. Walking, Arthur struggling, the signs of the stone? Brooder and his attention to Samantha, Arthur hitting him, falling, Chicory setting his leg?

11. The attack, Brooder and his showing the way into the cave, shot, dying, the cigar?

12. The sheriff and Chicory, getting in, finding Samantha, their being caught by the Indians, put in the cells, their discussions, the cannibals and their behaviour?

13. Nick, taken out of the cell, the torture, the split, and this to be repeated for the sheriff?

14. Arthur, the drugs and the opium for relief, Chicory having them, the Indians drinking and dying? Arthur, coming to, walking through the desert, into the cave, the back way, shooting?

15. The escape, the sheriff left to die, the survival? Grim West?

CONTEMPT/ LE MEPRIS

France, 1963, 102 minutes, Colour.
Brigitte Bardot, Michel Piccoli, Jack Palance, Fritz Lang, Georgia Moll.
Directed by Jean- Luc Godard.

Contempt/ Le Mapris is a significant film in the development of the career of Jean- Luc Godard.

He began direction in the late 1950s and became famous with his feature film, Breathless. He also experimented with social themes in the context of filmmaking with A Woman is a Woman (1961). By the mid-1960s, he was making narrative films like the science-fiction Alphaville but also moving into sociological studies, Masculin- Feminin. He was continuing in all these veins well into the second decade of the 21st century, with over 120 credits in a career spanning more than 60 years.

This film is based on a novel by Alberto Moravia. It is set on the southern Italian coast and Capri, the making of a feature film based on the works of Homer, themes of the Odyssey. The film was also a star vehicle for Brigitte Bardot, by this time one of the best known, as well is one provocative, French stars. Michel Piccoli is the writer of the film. Jack Palance is an arrogant an American actor. Famous director Fritz Lang appears as a director – with Godard himself appearing as the director’s assistant.

The film is shot in colour, capturing the sunlight of Italy as well as the film sets. The various strands and the narrative focusing on the central characters and their interactions, the making of the film, the difficulties in writing, the demands of directors…

The film is very strong on dialogue – and is noted for a 20 minute sequence during the film in which the writer and the actress interact in all kinds of ways with each other, strong dialogue, strong drama and melodrama.

The film has many interesting features from the work of the director himself to an adaptation of Moravia, to the very strong cast.

1. A film of the 1960s? France, Italy, the film industry? Personal stories?

2. The Roman setting, the city, the studios, the beaches? The Isle of Capri and its beauty? The musical score?

3. The work of the director, his narrative period, his later cinema essays? Relationships between men and women?

4. The cast, the status of Brigitte Bardot, the career of Michel Piccoli, Jack Palance – and an Oscar 30 years later, the classic work of Fritz Lang in Germany, Hollywood?

5. The personal story and the film story? The introduction to Camille and Paul, the long bedroom sequence, Camille referring to the beauty of her body, the mirror? Paul and his affirmation? The later knowledge that she was a typist working for Paul? Whether he married below him or not? The expectations of the marriage? Meeting Jerry, not liking him, the challenge to Paul and even humiliating him? Her tantrums, travelling in the car with Jerry? Expectations of Paul? The impact of the long sequence in their rooms, the dramatic development of the dialogue, the breaking down of the relationship, the effect on Camille, black wig, cooking, bedroom, sexual provocation, Paul, trying to respond, marriage and career? The breakdown of the marriage? The issue of going to Capri? Her not wanting to go, finally going? The filmmaking, her leaving Paul, travelling with Jerry, the rapport between them – and the drama of the crash?

6. Paul, age and experience, playwright, hired to write the screenplay, the marriage to Camille and his response to her? His listening to the comments about the Odyssey, Jerry and his opinions, wanting Paul to write, Jerry’s tantrums and breaking things? The meeting with Fritz Lang, respect for him? The decision to do the alterations? The long sequence of the interaction between himself and Camille? The result? On the film set? Camille leaving – the impact of her crash and death? His going back to the theatre?

7. Jerry, the American star, narcissistic, tantrums? His interpretation of the Odyssey, of Ulysses, of Penelope and fidelity? His wanting rewrites? The discussions with Paul, with Fritz Lang? On the set, the impact of the statues, the gods, reflections on God and the absence of God? The film, his ambitions, the encounter with Camille, the initial clash, finally going off with her, death?

8. Jerry is interpreter, his treatment of her, her work, interventions?

9. Fritz Lang and his reputation, the Nazis, Goebbels, his leaving Germany, his career in Hollywood? Later career? In Rome, directing this film?

10. The film story and the interpretation of filmmaking in the early 1960s, in Europe, Hollywood presence?

11. The personal story, the exploration of the development of contempt?