WHAT PRICE CRIME

US, 1935, 63 minutes, Black and white.
Charles Starrett, Noel Madison, Virginia Cherrill.
Directed by Albert Herman.

This is a very brief action drama of the mid 1930s, a supporting feature. It is interesting and entertaining in its way, indicating how much action could be crammed into an hour-long film.

Basically, the film is about rackets in gun smuggling across borders, robberies from government arms centres. Arrestingly, the first minute or two is all filmed with shadows of characters carrying out a robbery and aiming a gun.

The film introduces the head of the rackets who owns a very fashionable nightclub. The film also introduces an agent who has been crashed into by a rather reckless driver with her mother, but he is charmed by her – eventually meeting again because she is the sister of the racketeer.

The plan is for the agent to go undercover, posing as a boxer, getting himself into the good graces of the racketeer. This means that there is a substantial boxing sequence. At the nightclub, there are also dancing girls.

As regards romance, plenty of that, the young woman, suspecting that the boxer has a suspicious past, decides to reform him. Not that he needs any reform!

The boxer ingratiating herself with a nightclub owner, is given some tasks – but is seen by another thug talking to the authorities. However, the undercover agent covers himself, is given permission to drive to the arms factory. In the meantime, a news item is planted that he has shot agents and so proves himself once more to the racketeer who gives him an even bigger job. However, the truck is fitted with microphone and radio connection as well as a police siren.

Everyone converges on the headquarters of the racketeer who transports the guns – shootouts, smoke bombs, the death of the racketeer, and the required happy ending.

Not bad of its kind.

THE EMOJI MOVIE

US, 2017, 85 minutes, Colour.
Voices of: T.J.Miller, James Corden, Anna Farris, Maya Rudolph, Steven Wright, Jennifer Coolidge, Patrick Stewart, Christina Aguilera, Sophia Vergara, Sean Hayes.
Directed by Tony Leondis.

A 2017 Cyberspace Odyssey.

The first emoji was patented in Japan in 1999 so that in 2001, this kind of Cyberspace Odyssey would not have been possible. But, here it is, the subject of an animated movie for young audiences and the family. Who would’ve thought? Well, probably, those in the IT industry, always on the alert for developments.

A word of advice for intending audiences. This is a film for youngsters who are completely at home with their smart phones, with all their potential for communication and all the apps. It could be a relaxation for older IT experts, looking at the fun side of their professional work. But, a word of warning, when grandparents take their grandchildren to see these films, it is certainly best if the grandparents are technology alert, otherwise what on earth are they to make of it all…?

There are some human characters in the film, especially at school, where, of course, they are dependent on their phones. One boy is attracted to one of the girls but very shy, both using their phones but he having some doubts and intending to delete all his apps. (Actually, sequences where monstrous black devouring emojis appear and begin their demolishing could be a 21st-century version of animated horror!)

So, into the phone, into the cyberworld. Again who would’ve thought (well young audiences probably do think this) that there would be such a variety of apps and emojis? In fact, the outline of the story is a romance within the phone, a kind of frog Prince, Gene, a Meh emoji, who seems to be stuck in a two-dimensional unemotional life. As well there is the princess in disguise. They meet and come alive in a dance competition – and Gene is helped by a five-finger emoji, Hi 5. And, presiding over all the emojis with malicious intent is Smiler, an equivalent of a wicked witch, all gushing sinister smiles.

And, of course, the voices help. T.J.Miller is Gene, is the princess, James Cordon (British, of course, but very popular as a host on American television) is Hi 5, Anna Farris is the escaping princess (and her name is Jailbreak) and Maya Rudolph is the witch lady. And, a credit to be noticed and for Trivial Pursuit, Sir Patrick Stewart as Poop!

One of the goals of the journey in this film is to arrive in The Cloud and there are all kinds of difficulties with delete, trying to find correct passwords, breaking through the firewall after Access Denied…

Colourful, relying on a basic fairytale outline but absolutely full of emojis of every kind and the implication that no one should be using an emoji that indicates indifference like Meh. Communication ought to be bright and sprightly!

SILENT DUST

UK, 1949, 82 minutes, Black and white.
Stephen Murray, Beatrice Campbell, Derek Farr, Nigel Patrick, Sally Gray, Seymour Hicks, George Woodbridge, Marie Lohr, James Hayter, Irene Handl, Maria Var.
Directed by Lance Comfort.

Silent Dust is a small British movie from the late 1940s well worth catching. It was directed by Lance comfort made a number of significant British films in the 1940s and early 50s, made a transition to television but, before his death in 1966, made a number of small budget British films. The screenplay is by Michael Pertwee, of the famous Pertwee family, an adaptation of his play.

The action of the film takes place over one day, and is confined to the exteriors and interiors of the mansion owned by Robert Rowley. Stephen Murray plays Robert Rowley, a self-made businessman of humble origins, now blind. He has planned a huge memorial to his son, Simon, who died during the war. He is supported by his second wife, Joan (Beatrice Campbell) who was his secretary.

The device of having a neighbour, Lord Clandon (Seymour Hicks) cycle to the mansion and be held up by the police who gives him information about a violent stranger and an incident prepares for the surprise of the film, the return of Robert Rowley’s son who was a deserter and who has now come for money to escape to the continent. Also arriving for the memorial is Simon’s wife, Angela (Sally Gray) who has been married to Lord Clandon’s nephew Max, while they were working in Berlin (Derek Farr).

The flashbacks seem initially obvious but the screenplay uses the device of visualising the truth while Simon’s words are the opposite.

While there is conflict between the characters and the visitors reluctant to tell Robert Rowley the truth about the wedding, everything changes with Simon (a very effective Nigel Patrick) arriving, confronting Angela and Max, explaining what happened to Joan, and the attempts of the group to conceal the news from Robert who, in an interesting scene, thinks and talks allowed, working out what the mystery is that he has not been able to see. Ultimately, there is a violent confrontation between father and son.

(Interesting to note that soon after this film Nigel Patrick married Beatrice Campbell, the marriage lasting until Nigel Patrick’s death.)

1. An interesting postwar British drama? Melodrama?

2. The setting, the country mansion, the country village and roads? The interiors of the house? The musical score?

3. The opening quotation, intimations of death and mortality? The complexities of themes of the dead and memorials?

4. The situation, the planning for the memorial, the elaborate building and plans, Robert, his memory of his son killed in action, a haughty businessman from humble origins in Leeds, his dead wife, his dead son, marrying his secretary? Her devotion to him? His blindness? His supervision of the plan, the discussions with the foreman and the injury to the workmen, his criticism but giving money? Joan and discussions about the relationship, his blindness in communication? The visit of Lord Clandon, the bicycle is an obstruction, Clandon and his suggestions about
widening the memorial to other dead men of the region? The clash between the two men and the Clandon snobbery?

5. Joan, secretary, devoted wife, care for Robert? The memories of Simon? Angela and her return, Joan welcoming her, Robert and his coldness?

6. Angela, Simon’s widow, the gradual revelation of the hard marriage, her work in Berlin, the encounter with Max, his charm, being a doctor, Lord Clandon’s nephew? Arriving at the house? The prospect of the memorial? Angela and her interactions with Robert?

7. The policeman, holding up Lord Clandon and his bicycle, the news about the attack on the driver, the later information about the driver’s death? Wariness about the violent stranger?

8. The evening, the prospect for Max to meet Robert and Joan, the tensions, Angela wanting to give the news about their marriage in Berlin?

9. Simon’s arriving, Angela’s shock? Simon explaining about himself, his war service, desertion?

10. The significance of the flashbacks, the war sequences, Simon running, changing identity? His verbal narrative and its touches of heroism? The visuals completely contradicting what he was saying, self-centred, violent, in the club, fearing cowardice, the singer and the relationship? His presenting himself in the best light?

11. His drinking the whiskey, Robert entering, sensing someone present? Angela and her fears, the story of twisting her ankle? Joan seeing the light in Simon’s room?

12. Max, the confrontation with Simon, Simon wanting money at any means, Angela and the insurance, willing to pay, the fight with Max, the maid coming, the irony of the food in the pantry, Angela taking the food for Simon, the maid seen the man on the floor, telling Robert?

13. Joan, going to the room, the encounter with Simon, his telling her the story? Joan wanting to conceal the story, not wanting to hurt Robert?

14. Lord Clandon His arrival? Witnessing the revelations?

15. The device of having Robert think, talk aloud, going back through all the clues, his not seeing that his hearing, especially hearing the code of the whistle? Working out that Simon was alive, deserter? Simon hearing the whistle, coming down, confronting his father? The truth, his father’s denunciation?

16. The fight on the terrace, Simon falling to his death? Lord Clandon and his helping Robert, to remove all traces of the dead man, especially the pictures? And the police not knowing the truth?

17. Strong dialogue, strong performances, intriguing situations, dramatic and melodramatic climax?

TOKYO DRIFTER

Japan, 1966, 82 minutes, Black-and-white and Colour.
Tetsuya Watari.
Directed by Seijun Suzuki.

It is worth seeing Tokyo Drifter for many reasons.

Seijun Suzuki was a prolific director in the 1960s and, after production clashes over his 1966 film, Branded a Hitman, he was forced to go into television production for a decade.

He had a reputation for churning out films very quickly, often focusing on Japanese criminal themes as is the case here. They are very interesting in comparisons with the films of later decades and the explorations of the yakuza, especially the prominent international films by the Takashi Kitano.

The film is also worth seeing because of its striking cinematography and visual compositions. This film opens in black-and-white, a long shot of a man in suit and tie walking along the pier and then confronting another – with some splashes of colour. After the opening credits, the film is entirely in colour. The colour style is very bright, primary colours, in carefully constructed sets, especially in the nightclub for the staging of particular songs by the girlfriend of the hero. There are interior scenes in offices, stylised corridors, lift wells as well as exteriors in the streets, in the countryside, in country towns. There is always something to strike the eye in composition and in colour.

There is also a musical soundtrack which is striking and quite a number of songs interpolated into the narrative, the nightclub singer as well is the hero frequently singing, lyrics highlighting the themes.

As regards the themes, the focus is on a hitman who used to belong to a yakuza company which has been disbanded. He is loyal to the former boss, his father figure. However, there are complicated clashes between various gangster groups, the desire to buy buildings, the exchange of cash, extortion, anger and violence. The drifter himself goes to the countryside but is pursued by a range of members of different games leading to all kinds of fighting setups.

It is interesting to speculate about cinema influences of the time on the director – it was a period of spaghetti westerns with their very stylised visuals and compositions and enigmatic heroes. While the Tokyo Drifter has a name, he is very much the equivalent of a Japanese Man with No Name.

For audiences familiar with classic Japanese films and world-renowned directors as well is the gangster films of the late 20th century and early 21st century developments, this film is a reminder of the creativity, even pop creativity, of Japanese filmmaking.

LA PANTALLA DESNUDA/ THE NAKED SCREEN

Nicaragua, 2014, 90 minutes, Colour.
Oscar Sinela, Roberto Guilen, Paolo Baldion.
Directed by Florence Jaugey.

The title of the film sounds rather sensationalist – but, in fact, the sex scenes, while significant for the plot of the film, are fairly minimal visually.

This is a cautionary tale about social media, about the trend to photograph and film oneself and others sexually and to distribute the images – with some dire consequences for the individuals and life after the social media experience.

Interestingly, this is a film from Nicaragua, an opportunity to see a Nicaraguan story with Nicaraguan characters (although the director and the central character are French and Spanish).

The plot is straightforward but arresting, two young men at university, becoming friends, one from a rich background with a dominating father and the son rebelling in terms of career demands as well as ideology of hunting and violence, the other from a poor background but fabricating stories about his past. The rich son is in a relationship with a student and, on impulse, photographs and videos her, especially, during a sexual encounter. She has been unwilling.

The friend is something of a young Iago figure, the film not spelling out what his motivations are, some envy of his rich friend, some jealousy of the girl, perhaps some sexual attraction for the man.

The film is strong on showing the reaction to the circulating video, the amount of curiosity and number of viewers, the reaction of people to the man, less condemned, the often vicious and eventually violent reactions to the young woman and her being considered a slut.

The young man tries to do the right thing by his girlfriend and to support her in her humiliation. However, his seeming friend continues to conspire even to ruin the possibility of the two leaving the town for a different life.

In the picture are the parents of the rich young man, the mother of the girl who works in a copy and communication shop where people cease to come and where graffiti is painted on the wall, and the mother of the jealous young man, a seamstress, who uncovers what her son has been doing.

This is a film where the audience would have liked the screenplay to continue further but it simply shows what has happened to the three characters and leaves it for the audience to speculate on what will happen.

1. The title and expectations? Sexuality? Communications?

2. The film from Nicaragua? The settings, the town, streets and highways, homes, rich and poor, the University, the buyers, the pool rooms? The musical score?

3. The 21st-century focus on social media, smart phones, photos and videos, texting, messages, uploading videos, spreading them?

4. The film’s comments on viewers of the sex videos? Curiosity? Making allowances for the man? Victimising the woman? The lewd comments, the ridicule, the gossip, the condemnations yet indulgence? Graffiti and people mocking the girl with the quote, now, now?

5. The introduction to the central characters? Alex, from the rich family, his father wanting him to be a man not a wimp, support from his mother? Octavio, the poor background, his mother, brother, at home? Esperanza, her mother and the copying and communication shop, studies?

6. Octavio, at home, getting dressed, his mother, the meals, treatment of his mother? The good treatment at Alex’s parents? His going hunting, the shooting? Friendship with Alex, the telling of his family story, the death of his father, the loss of the property, family difficulties – and the family raising difficulties about the truth? Studying, his scholarship, the threats from the lecturer? His attitudes towards Alex, friendship, envy, the role of Esperanza, taking Alex away from him? The discussions about the relationship? The game of pool, the drinking, the bet,
Octavio unable to pay, his taking the phone, watching it at home, his decision to send out the images, watching the number of viewers? His secrecy? Alex’s visit and his pretending to know nothing? The ceremony and not wanting his mother to go, her presence? His preoccupation with the phone, the images? The episode with his cutting his T-shirt? His mother going through his cupboards, discovering the truth, wanting to protect him? His going to farewell Alex? His malice in texting Esperanza and telling her the wrong time for the meeting?

7. Alex, his relationship with his parents, resentful of his father, his father’s domination, hunting, Alex’s arguments against hunting and violence? Friendship with Octavio? The relationship with Esperanza, meeting her, the sexual encounter, filming it? The pool game, drinking, losing his phone, becoming desperate, the revelation of the truth, his friends unable to help? Going to Esperanza, talking with her, her forgiving him? The plan to leave the town, packing, Octavio getting the message and changing it?

8. Esperanza, her relationship with Alex, her relationship with her mother, the sexual encounter, asking him not to film? The consequences, people watching, the visit to the toilet and the girls’ comments, in the street, condemned as a slight? In class? Are being hurt, talking it over with her mother? Preparing to leave, the wrong time, waiting, two men, the abuse and throwing
her out, injured?

9. The parents, Alex’s father and his haughtiness? Demanding his son continue the business and the traditions? Esperanza’s mother, her work in the shop, business declining, the graffiti? Octavio’s mother, servant, dressmaker, love for her son, going to the ceremony, discovering the truth?

10. The film’s comments on people and their reaction to social media, curiosity, hostility and malevolence?

11. The film as a cautionary tale about social media privacy, reputations and invasions of privacy?

DAYS OF BEING WILD/ AH FEI ZING ZYUNG

China, 1990, 94 minutes, Colour.
Leslie Cheung, Maggie Cheung, Andy Lau.
Directed by Wong Kar- Wai.

An early work of celebrated director Wong Kar Wai, who was to make quite an impression with a range of films for the following 20 years or more, many of them relationship dramas.

This is a drama for six people. At the centre is a young man, brought up by his adoptive mother, a prostitute, who refuses to tell me who his birth mother is. In this way she has power over him while he becomes more dependent, yet angry, with her. He has relationships with two women, a quiet young woman who serves in a restaurant in a sports arena, while the other is an extroverted dancer. They are both very much hurt by their treatment by the self-centred man. The quiet woman confides in a local policeman, the other becomes the object of attraction by the young man’s close friend.

Eventually, the indications are that the birth mother is in the Philippines and the action transfers there, but not with any happy ending.

1. A Chinese drama? Romance? Fate?

2. The Hong Kong settings, flats, the kiosk, the streets, restaurants? The contrast with the Philippines and its atmosphere? The musical score? The songs – especially American songs as background?

3. The work of the director, his subsequent career? Characters in later films?

4. The emphasis on time, times and dates, the one-minute – and the frequent focus on clocks?

5. Yuddy, his story, in himself, his age, playboy, yet needing money? His mother, adoptive, his search for his actual mother? The adoptive mother as a prostitute, ageing, her relationship with men, the stealing of jewellery? Yuddy and his brutality towards the man, the jewellery, giving his mother back when hearing? His meeting the girl at the kiosk, intimacy, the explaining of one minute and its being memorable, the date in 1960? The effect on the young woman, living with him, infatuated with him, his growing tired of her and ousting her?

6. Yuddy at the bar, the encounter with Mimi, their talking, her exotic touches, her going home with him, moving in? The visit from his friend and the meeting with Mimi? The nature of his relationship with her? The pressures on her?

7. Tide, the genial policeman, on guard, the meeting with the young woman from the kiosk, the effectiveness of the long single tape, the walk and their conversation about themselves and relationships? His story, wanting to be a sailor?

8. Teb, the neighbour, friendship with Yuddy, seeing Mimi, the effect on him?

9. The interactions of the central characters, relationships?

10. The transition of the action to the Philippines, Yuddy searching for his mother, Tide and his being a sailor, the women?

11. The effect on Yuddy, and his death?

WHEN THE BOUGH BREAKS

US, 2016, 107 minutes, Colour.
Morris Chestnut, Regina Hall, Romany Malco, Michael Kenneth Williams, Glenn Morshower, Theo Rossi, Jaz Sinclair.
Directed by John Casar.

Audiences will recognise the quotation from the nursery rhyme – and down will come baby, cradle and all. The title has been used for several thrillers and the film about the murderous nanny, The Hand that Rocks the Cradle.

This is a film about surrogacy. Morris Chestnut and Regina Hall portray a very comfortable couple who have suffered miscarriages and are now researching surrogacy, interviewing possible mothers. Jaz Sinclair seems to have the credentials and interviews well, the couple deciding that she is the one, especially the wife though the husband has some reservations. There are further reservations when the young woman brings her boyfriend to a meal and he appears to be particularly mercenary. The audience is probably guessing by this time that there is a scam in the background. And they will not be wrong.

The young woman ingratiates herself into the family, clashes with her boyfriend, flirts with the husband and embarrasses him with videos at work, blatant approaches.

While the couple is very prominent socially, raising a lot of money for charity, the firm discovering the videos on the husband’s computer means that he loses a particular account and is suspended from his job. In the meantime, the wife is made CEO of a catering firm.

The film moves more and more into the horror genre, revelations about the young woman’s past, sexual abuse by a foster parent, her killing him – and then a confrontation with her boyfriend and killing him as well. The wife, continually anxious about the unborn child, encourages her husband to play along with the surrogate mother, leading to a difficult birth, rescuing the child – and the death of the surrogate mother.

An African- American couple, affluent, standing in society, opting for surrogacy, and suffering some horror consequences.

1. The film as a thriller? Conspiracy? Film about family, surrogacy? Blending the themes?

2. The New Orleans setting, the vistas of the city, the atmosphere? The affluent home? The lavish interiors, the guesthouse, the grounds? The staging of the society party? The agencies for surrogacy? Anna and her home? The prenatal training? Business, the lawyer, offices? Hospitals? The musical score?

3. The title, the cradle will fall, the effect on the baby…? Anna singing the song?

4. Audience attitudes towards surrogacy, artificial insemination? Discussions, the investigations, thorough or not? The hopes of parents? Eagerness for the mother? Wariness of the Father? Interviews with the potential mother? Her boyfriend? Eliminating suspicions? The fostering of the mother, health and care, prenatal training? The possibilities of deceit, scams? The consequences? The attachment of the surrogate mother, to the child, to the father, hostility to the mother? Money issues? The legal issues?

5. John and Laura, successful couple, he at the law firm and prosecutions, she as a chef, the offer of the CEO job? Life at home? The miscarriages? The search for a surrogate mother? Choosing Anna, the lengthy interviews, Anna’s response? Her playing up to the couple? Their not finding out the detail of her past life? The investigations, the complexity, orphan, orphanage, foster parents, abuse, her killing the foster father, psychiatric condition, violent episodes, the boyfriend, the scam with him, love for him, his dominating her, the physical violence? The smooth talk at the meal with John and Laura, the plans, the use of the money?

6. The experience of the artificial insemination, the visuals on screen, the audience understanding? Laura’s presence? The effect on John? The effect on Anna?

7. The continuing pregnancy, John and Laura and supervision, the meal with Anna and Mike, the phone call, Mike and his violence, John confronting him, the restraining order, the order for his re-enlistment? His not obeying, his time with Anna, pressure on her, the plan? Anna and her violent outbursts, killing Mike?

8. John, the company, his colleague, collaboration on the case? The authorities seeing Anna? Suspicions? The sending messages, the video, John watching it in the office, the authorities bringing this against him? The ownership of the prenatal centre? His being taken off the job?

9. John and Laura, social success, the party, Anna arriving, wearing Laura stress and Laura’s reaction? Laura and the offer of the job, her time away, her return? Anna and her outbursts, the lies about John, his denial? The delay for Laura and her missing the ultrasound?

10. Anna and her increasing erratic behaviour? Laura’s concern about the baby, allowing John to pretend to love Anna, going away to the lake house, previous visits? John coming home, Anna following, seeing him with Laura, the violence of the attack? Her disappearance? The waters breaking, going to the hospital, the birth of the baby?

11. John, his friend doing the research and coming up with the information about Anna, John going to the lake house, Laura going with him, the rescue of the baby, and the violent attack, the couple in the car with the child, Anna standing in the driveway, their crashing through her?

12. The complications of the surrogacy situation, the surrogate mother, the effect on the couple, the violence inherent in what happened, one the film ending – their future?

THE DISAPPOINTMENTS ROOM

US, 2016, 85 minutes, Colour.
Kate Beckinsale, Mel Raido, Duncan Joiner, Lucas Till, Marcia De Rousse, Celia Weston, Gerald Mc Raney.
Directed by D.J.Caruso.

This is a small horror film directed by D. J. Caruso, director of such interesting films as Taking Lives, Disturbia, Eagle Eye. These make this particular film seem rather slight and there is a deal of comment indicating that scenes were edited out from the finished release.

The plot is fairly basic. A professional architect is emotionally and mentally disturbed by the death of her daughter. Her husband brings her and their son to an old house in the countryside which she can re-build and redecorate. When she goes into town, she hears stories about the house and its former inhabitants and an old lady at the library gives her documentation.

The architect has dreams, suffers in her imagination, seeing a dark black hound, images of 19th-century people, the man, especially, threatening in her nightmares. At some stages, she cannot tell the difference between reality and dreams, even threatening her son. A young local man also helps in the work around the house.

The title refers to a room in 19th-century mansions for the exclusive use of a family who wants to isolate a child who has physical or mental disabilities, keeping them from knowledge of neighbours, keeping them out of the light. With the past family, the mother cares for a disabled daughter but the father kills her.

Eventually, sanity’s sake, the family returned to the city. American story but, interestingly, but Kate Beckinsale and Mel Raido are British.

1. Haunted house and ghosts film?

2. The American countryside, the small town, the isolated mansion, dilapidated, in need of repair, the surrounding woods? The musical score?

3. Dana, David and Lucas, driving, singing Gilbert and Sullivan, the cheery atmosphere, finding the house, going in, the new atmosphere, settling in?

4. The background of the birth of the daughter, the flashbacks, the death of the daughter, the anniversary? The effect on Dana, her mental collapse? Her being the successful architect, in the steps of her father, the company? David and his support? The concern for Lucas in the aftermath of the death?

5. The atmosphere of the house, the dilapidated aspects, the rain and the leaking, the secret rooms, the door locking Dana in, her cries for help, not heard?

6. The beginnings of the apparitions? The ladies at the shops and library, their information, atmosphere? Dana and her mental condition? Seeing the dog, in her dreams, pursuing Lucas? The increasing dreams? The background of the Black family? The old lady and the information about the Disappointment Room?

7. Disappointment Room, children with disabilities, their being hidden away, no contact with the outside world? The sadness of their lives, death? The information about the Black family? Their daughter? The visualising of the scenes, Mrs Black and her concern, feeding the daughter, caring for her? The daughter and her disfigurement? The Father, stern, killing his daughter? The various apparitions? The photos to one the posters?

8. David, genial, looking after Lucas, caring for his wife, concern? The repair of the house? Ben and his arrival, Dana very wary, bringing her business sense? David employing him? And and his insinuations, the smoking of the cigarette, Dana’s reaction? Dana taking a stand? David having to go wait the city, concern? Going to see the therapist? The advice to have friends come? The anniversary of Catherine’s birth, the party, Dana drinking, her outbursts, the birthday cake, her anger, smashing things? David trying to comfort her?

9. The continued nightmares, concern about Lucas, thinking the dog pursuing him, finding him in the forest, bring him home? Thinking that Mr Black was killing him and her attack on Lucas? David restraining her?

10. The truth about what it happened? Dana having to cope – and their moving back to the city?

CONFESSION/THE DEADLIEST SIN

UK, 1955, 74 minutes, Black-and-white.
Sydney Chaplin, Audrey Dalton, Jefferson Clifford, John Bentley, Peter Hammond, Betty Woolfe, John Welsh, Richard Huggett, Patrick Allen, Dorinda Stevens.
Directed by Ken Hughes.

The confession of the title is actually the making of a confession in a confessional to a priest – with the consequent effects of the “seal of confession�.

A criminal returns from the United States to his hometown bringing money from a robbery, but pursued by a fellow criminal. While he is welcomed by his sister, he is not so much welcomed by his father. Complications arise when he is challenged by the pursuer, takes a gun, is joined by his sister’s boyfriend in the streets who defends the criminal by shooting his pursuer.

The film opens with his going to confession and then cuts to the action, later resuming the confession where he is shot by the criminal fearing that is reveal the truth to the priest. The priest is then at risk himself. The dead man was a Catholic, Catholics not being so prominent in the UK of the time, and the criminal not knowing about the seal of confession.

The police investigate, exonerate the friend, discover more about the criminal, and a police inspector who has informed the sister, who initially does not believe him but searches her brother’s room, urges her to join in the set up making the priest target for the criminal.

The priest is given dialogue to explain the nature of the seal of confession. The attack is at night, at the end of Benediction, the killer going into the belltower, some shootout, but the ringing of the bells which deafens him and he falls to his death.

Of interest, the killer is played by Sydney Chaplin, son of Charlie Chaplin. Audrey Dalton is the sister.

1. A small British thriller of the 1950s? Gangsters, robberies, murder?

2. The title? Catholic confession? The priest? Confessing, the seal of confession? Confessional secrecy?

3. The town, provincial, homes, streets, the restaurants? Police offices? The church, the body of the church, the altar, the belltower? The musical score?

4. Michael, his past, leaving the town, the reaction of his father, the rest of the family, his sister, friends? The return, hiding his life, the pursuit by the criminal, the challenge, the appointment, meeting, Alan present, the shooting? Keeping the shooting quiet?

5. Alan, the opening of the film, going to confession? Audience expectations about confession? The choice of the Catholic Church, England not being such a Catholic country? Audiences not necessarily knowing about the seal of confession at this time? The action of the film presuming with the confession, Alan saying Michael’s name? The response of the priest, the death?

6. The screenplay explaining the seal of confession, the law, the church, secrecy? The the priest and his vocation? His willingness to collaborate with the priest? The priest’s assistant? Setting up the situation in the church, the timing? The priest and he is being willing to take the risk for his life?

7. Michael, his lies? Blaming Alan? At home, hiding the money? His father hearing him on the phone, denouncing him? His sister, the dinner with the police officer, not believing him, searching his room, finding the money? The truth?

8. The investigating police, the interrogations? The officer and the meal, the sister upset, his return, the pressure on her to go to the police station, the phone call as if she was with her aunt, deceiving her brother?

9. The church, benediction, Michael, his fear of the priest talking, going to the loft, the shootings, the confrontation, the police, the gongs and the bell, falling to his death?

10. The future, living with the reputation of their son and brother? The policeman and the sister?

DEAR RUTH

US, 1947, 95 minutes, Black and white.

Joan Caulfield, William Holden, Mona Freeman, Edward Arnold, Billy De Wolfe, Mary Phillips, Virginia Welles.
Directed by William D. Russell.


Dear Ruth was a successful play at the end of World War II, written by Norman Krasna, playwright and screenwriter who won an Oscar for Princess O’ Rourke.

It is set in 1944, the American war effort in the small American towns where continued life as usual, judges, banks, school, family – along with the younger generation involved in social protests, letter writing, thinking the older generation was fuddy-duddy.

The initial focus is on Miriam, Mona Freeman, and her protests. Then a pilot arrives, a charming William Holden, who has come to see Ruth, the older sister, Joan Caulfield. The family then realise what Miriam has done, Ruth going out with Bill out of courtesy and not telling him the truth, intending to let him go on his new appointment. Her fiance, Albert, comedian Billy De Wolfe, has many exasperated scenes.

Ruth tells Bill the truth. He is properly respectful. However, Ruth’s father, played by Edward Arnold, makes her realise she loves Bill and he performs the wedding ceremony.

There was a sequel with the same cast, Dear Wife (1949) and a further sequel featuring Mona Freeman, Dear Brat – also starring Billy De Wolfe, Edward Arnold and Mary Phillips who is the mother in all three films.

It is often noted that J. D. Salinger saw the cinema marquee highlighting the stars for the film and came up with the name Holden Caulfield for The Catcher in the Rye.

1. A popular postwar film? Romantic? Perspective on the war and the war effort? Leading to sequels?

2. The film based on a play, the focus on scenes and dialogue rather than opened out? Generally confined to the house? Tour of New York City? The role play in Grand Central Station? The musical score?

3. The atmosphere in 1944, the small American town, the American family, the judge and his work, mother at home, the daughters, work at the bank, the younger daughter and her protests? Writing letters to the Armed Forces? Morale boosting?

4. Introduction to the family, Miriam, her age, her range of protests, the condemnation of the older generation, seeing her generation as socially conscious, her causes, signing petitions, letters to government, enrolling her father for blood donation? Her parents’ reaction? Ruth’s reaction?

5. The parents, genial, reactions to Miriam? Enthusiasm about Ruth and the marriage to Albert?

6. Ruth, her age, work with the bank, the relationship with Albert? The issue of smoking, his apology? The date for the wedding?

7. Bill, his arrival, the parents’ reaction, welcoming him, surprised, covering? His explanations, the letters, calling Ruth Baby, his going to the bank, watching Ruth, ordering all the gifts, the lilacs, popcorn, toys?

8. Ruth, the surprise, greeting Bill, his romantic response, her reactions? The decision not to tell him the truth?

9. Miriam, writing the letters, 60, quoting poetry? And the end and the revelation of the sailor arriving having received Ruth’s letters?

10. Albert, his reactions, watching Bill and Ruth, the kissing, staying with the parents, the late night, his exasperation?

11. Ruth and Bill out, the meal, dancing? Ruth learning more about him? The deciding not to tell him because he was leaving? At home, questioning Miriam about the letters, the boxful, her reading them till the early hours? The effect?

12. Everybody going out on the town, the tours, the significant buildings, the role-play Grand Central, Bill doing the kissing, losing Albert and his returning home?

13. Bill’s sister arriving, the break with his partner, his arriving? The discussion, the reconciliation, the plan for the wedding, the ceremony?

14. New orders, Ruth and the farewell, Bill going to Florida? Ruth telling Bill the truth? His response, doing the decent thing?

15. Ruth talking with her father, Albert and his phoning for the Church appointment? Ruth realising she was attracted to Bill, the document, the ceremony, hurrying to the station?

16. A romantic comedy of the period?