JUSTICE FOR NATALEE HOLLOWAY

US, 2011, 89 minutes, Colour.
Tracy Pollan, Stephen Amell, Scott Cohen, Amy Gumenick, Michael Beach, Grant Show.
Directed by Stephen Kay.

Tracy Pollan continues her overwrought performance as an overwrought character, Beth, the mother of Natalee Holloway who disappeared in Aruba in 2005. Beth continued her demands for justice, thwarted by the local police, relying on the FBI. The main suspect, Joran, is interrogated, has implicated his two friends who were released, changed his story which was seen in different flashbacks.

Time has passed, Beth is still intense, is now divorced from her husband, relies on her son.

An opportunity for her to go to Aruba where her daughter disappeared occurs, media helping and she giving interviews, and confronting Joran’s father.

The film focuses on Joran, his father’s reaction and cutting him off, Joran going to Thailand, becoming involved in sex slavery organisation, his needing money, approaching Beth. The FBI see it is an opportunity to get him on tape with his demands, the possibility finding out the truth or, otherwise, his going to prison for extortion. Beth relies on her lawyer for the meetings but she does not get the truth.

In the meantime, Joran goes to Peru, is involved with a local young woman, she finding out about him and he killing her in anger. While he escapes Peru, he is arrested, tried, receives a long prison sentence.

Beth goes to see him in prison, decides that she must make an emotional break and spurns him, saying she needs nothing from him.

The media continued interest in the case with a 2017 miniseries.

1. Audience knowledge of the case of Natalee Holloway and her disappearance? Audiences familiar with the first film, the situation, the disappearance, the characters, accusations, Natalee’s mother and her quest?

2. New information, especially about Beth and her search? Responses of Joran? His father and mother? The Aruba police? The closing of the case? Joran and his behaviour at home, going to Thailand, involved in sex slavery, going to Peru, the encounter with Stephanie, her death and his subsequent behaviour?

3. Alabama, the FBI offices, New York City? Sequences in Aruba? The story of Joran in Peru? The musical score?

4. Beth, the intense performance by Tracy Pollan, separation from her husband, her visits to him, her reliance on her son, his giving her the money? The response to Joran’s confession in Holland? Believing him or not? Going to Aruba, confronting his father? The discussions with the FBI in Alabama? Her intensity, accusing officials of not doing their job? Her campaign to protect women?

5. The portrait of Joran, age, playboy, relationship with his parents, the effect of the Natalee Holloway episode, his father covering, giving him money? His father breaking off? His father’s collapse and death? Joran and his inheritance? Discussions with his mother? His going to Thailand, the connections, with the women, American blondes, the local women, trying to arrange transport to London? Wanting money to finance this work? Contacting Beth?

6. Beth, issues of money, wanting confessions? Joran and his contact with Beth? Beth and her lawyers and the plans?

7. With the FBI, getting Joran to speak, Beth taping him, the setup for further recording? The lawyer and the meeting? Joran and his demands? The low bringing $10,000, Jordan walking out, the lawyer pursuing him, bringing him back, Beth wiring the further money?

8. Joran and his various stories, they’re being visualised in flashback? The story of Natalee, her collapse, hitting her head, bleeding?

9. Beth and her discussions with her husband, going to see him, his birthday, the loss of her daughter, of her marriage, her husband?

10. Joran, going to Peru, picking up the women, Stephanie, taking his card, her search on the Internet, his finding her, by that reaction, killing her? Checking out, the cover with the coffee, the deal, hiding in the truck, crossing the border? His being apprehended?

11. Trial, going to jail? Beth going to see him, her plea, his biding his time, saying he had to have time to think about his reply telling the truth? Using gambling as the excuse for all his behaviour? Her direct speaking to him, her accepting her loss, leaving him?

BUSHWHACKED

US, 1995, 90 minutes, Colour.
Daniel Stern, John Polit, Brad Sullivan, Ann Dowd, Anthony Heald, Corey Carrier.
Directed by Greg Beeman.

Bushwhacked offers a lot of raucous shenanigans for a young audience. With star Daniel Stern, also acting as executive producer, the film is in the vein of his character seen in the first two Home Alone films.

He is Max, a gawky and awkward character, bulging eyes, chewing gum, seemingly oblivious of everyone, walking down the street to the Bee Gee’s song, Stayin Alive. He is a delivery truck driver and goes to a mansion, finds a room on fire, is attacked by an FBI agent (Jon Polito) and finds that he has delivered a boxful of cash. He is accused of robbery and is pursued by the FBI agent. He realises that he has one more delivery in a special contract that is to a mountainous address, Devil’s Peak.

Despite his ineptitude, his makes his way towards Devil’s Peak, but not before encountering a rugged Ranger (Brad Sullivan). He gets a sticker on his car, that he is in in inconsiderate person, but he gets superglue and presses the Ranger’s hands on the steering wheel and his chin as well.

Meanwhile, we see a group of young scouts, gathering for a bush adventure, under the supervision of one of the mothers (Ann Dowd). Needless to say, when the fleeing Max arrives on the scene he is mistaken for the scoutmaster.

A lot of physical comedy ensues, plenty of pratfalls as Max tries to get to his destination, does respond to a lot of the scout’s questions, sometimes, offhand, and, sometimes genuinely, getting them to walk, getting them to run, getting them to climb mountains, and his getting entangled with bees and a beehive. The FBI agent and the Ranger who has been freed are in pursuit – and the agent has the indignity of the carefree group urinating, and it all raining on him.

The arch criminal is revealed at his mansion on the mountain top, Anthony Heald, and it is no surprise to find the FBI agent is no agent but is an associate. Meanwhile the supervisor has driven to the house and is tied up. Max and the scouts, all boys plus one girl, have even more adventures, Max trying to put up his tent, the boys trying to catch him, getting across a suspension bridge and then cutting it to prevent pursuit, eventually climbing the mountain side, Max swinging to find a safe ledge, the boys throwing stones to incapacitate the villains, one of the boys charging and going over the cliff, with Max having to rescue him as he hangs onto a limb, a literal cliffhanger.

As if we wouldn’t know, the Ranger is proud of the boys, they get the highest accolades – as does Max who then finds that is thronged by scouts and that is next assignment is in Yosemite.

BAD GIRLS

US, 1994, 99 minutes, Colour.
Madeleine Stowe, Mary Stuart Masterson, Andie Mc Dowell, Drew Barrymore, James Russo, James Le Gros, Robert Loggia, Dermot Mulroney, Nick Chinlund.
Directed by Jonathan Kaplan.

On its first release in the mid-1990s, Bad Girls was considered a feminist Western. And, in many ways, it is.

The women of the title are four prostitutes working in a saloon in a western town. They welcome the clientele, encourage gambling, but have difficulties with some of the rowdy clients – which leads to a shooting early in the piece and the attempted lynching of the Madam. She is rescued by the other women.

It is interesting to see the traditional bad girls of American westerns being transformed into leading figures, given some background, and taking a stand against the men. The men in the film include a prospecter bent on revenge, Dermot Mulroney, Robert Loggia as the father of an outlaw, who is the target of the revenge. James Russo is the outlaw. There are also some Pinkerton detectives.
However, the most sympathetic of the men is James Le Gros who gets entangled with one of the women, gives them refuge while being pursued, and finally offers a place for one of them to stay with him and work on his spread.

The four women are portrayed by strong character actresses, Madeleine Stowe as the leader, Mary Stuart Masterson as a widow who is forced into prostitution, Andie Mc Dowell as a woman who had a poor upbringing but has assumed is of a lady, and a young Drew Barrymore.

Direction is by Jonathan Kaplan who, especially in the 1970s, directed a number of small action features.

1. A 1990s Western? The focus on women in the West? A feminist perspective?

2. The western town, the streets, the law? The saloons, the interiors? Gambling? Horses and riding? Coaches? The West and the plains and the mountains? The towns? The musical score?

3. The title, the focus on the women, the initial seeing them as prostitutes, at work, clashes with clients, shooting, the lynching, the rescue, riding and pursuits?

4. Setting the situation, Anita, refusing to kiss the colonel, his uproar, Cody watching, the shooting? Josh and his watching? The lynching, Cody and the noose, the women rescuing her, riding away?

5. The women in their stories? Cody and her leadership, running with the Jarrett gang in the past, relationship with Kid, with Frank? Saving the money to settle down? Banking it? Anita, visiting her husband’s grave, thinking he would support her, not kissing another man? His will, the land, wanting to settle down, the paper mill? Lily, young, admiring the other women? Eileen, her manner, her story about her elegant parents, the ambitions, the truth about the farm, her hard life? The interactions between the women?

6. The screenplay and the focus on the women, in themselves, some female dignity, their prostitution, yet wanting something more? The misogynist attitudes of the men? Exploiting women, using them, and attempted lynching?

7. The women and their discussions, their plans, to go to Oregon? At the bank, Cody and her charm, getting the money? The robbery, Kid and his gang? The shootings, taking Cody’s money? Her telling the women that this was his invitation for her to come? Going to the camp, meeting Frank and the discussions? Memories of Kid, riding with him, her walking out?

8. Josh, saying he was a prospector? Following the women, rescuing them? His family, wanting vengeance on Frank? Tracking him down?

9. Anita, her husband dead, not inheriting the land?

10. Eileen, in prison, the plan to get her out, Anita and the wagon, Lily and her charm? Eileen and the arrest? Her meeting William, talking with him, charming him? The sheriff letting down his guard, the escape? The going to William’s house, his reaction, hospitality?

11. The confrontation with the Jarretts, Lily being taken, abused? The plan to exchange Frank for Lily? Josh, his anger, shooting Frank? Cody angry?

12. The confrontation with Kid, the shootout, his death? Killing Josh?

13. The women going ahead? Eileen and the attraction to William, his offer, working in the fields with him, her decision to stay?

14. The conventions of the West? The women’s perspective?

THE BLIND GODDESS

UK, 1949, 84 minutes, Black and white.
Eric Portman, Anne Crawford, Michael Denison, Hugh Williams, Nora Swinburne, Claire Bloom, Raymond Lovell, Clive Morton, Maurice Denham.
Directed by Harold French.

The Blind Goddess is a very interesting drama of the late 1940s, topical in terms of British politics and responsibility, with themes of the reconstruction of Europe and the possible misuse of public funding.

The film focuses on Derek, a public servant who has been dismissed from his job by the head of the Department, Lord Brasted, and has a crisis of conscience about misuse of money and his going to see the Prime Minister. Lord Brasted decides to sue Derek for libel.

Much of the action of the film is in the court with Derek giving long explanations of what has happened, with a prominent lawyer, Sir John, listening and then using the evidence against him. There are complications with Lady Brasted having previously been in love with Derek but finding that her marriage has given her all that she missed during her upbringing in poverty and makes decisions to lie about letters.

The cast is very strong with Michael Denison as Derek, Hugh Williams as Lord Brasted, Anne Crawford as lady Brasted and a significant performance from Eric Portman as the lawyer. Nora Swinburne appears as his wife and a very, very young Claire Bloom appears as his daughter who is in love with Derek.

The film is directed by Harold French who directed a significant number of British films during the 1940s including French with Without Tears and Quartet.

1. A topical British drama of the late 1940s? Postwar issues? Reconstruction of Europe? Financial corruption? Politics? Legal proceedings?

2. The opening in Prague, the murder, the taking of the documents? The case later found in the falls document inside? The status of the murdered man in the investigation? His valet is the murderer, in the pay of the corrupt officials?

3. The London settings, homes, clubs, airports, legal chambers? The film using actual locations and London landmarks? The musical score?

4. The film as an expose of potential corruption in the postwar period?

5. Derek, as a person, his job and losing it, his relationship with Arthur breasted, the previous relationship with Helen? His love for Mary? His discovery about the fund, the exploitation? Contact with his friend in Prague? His death? Conscience, the decision to go to the Prime Minister?

6. Mary, sending the note, her not getting it, Helen taking it and using it as evidence against Derek? Mary and her visit to Seoul on, upset at Derek’s letter, turn, reading the newspapers, going to see Derek, clarifying the issue? Confronting Helen, being rejected? Taking Derek to see her father?

7. Nought breasted, the corruption and his connections? The decision to go to court and accuse Derek of the libel? The preparation of the case? His allies and connections, the briefings? Helen, her love for her husband, the story of property, his giving her what she wanted, her defending him at all cost? The letter, going to see John, not wanting to go into the court, Sir John demanding her presence? Her denials?

8. Sir John, defence counsel, the importance of evidence, his biding his time, discussions with Helen, with Lord breasted, with his go-between? Listening to Derek’s story? The letters, relying on the forgery, getting to Derek to write the letter, the comparisons? Helen’s letter? Winning his case? The discussions with his wife?

9. Derek, good conscience, going to the Prime Minister, in the court, his on long explanation of what happened? The role of his defence counsel? Interventions? The judge?

10. The accumulation of evidence, the letter from the briefcase, his writing and comparisons? The jury and their puzzle over the name of address in the letter? Helen’s letter, the previous letters? His wanting to save Mary’s honour? Losing the case?

11. The Savoy hotel, the issue of the delivery of the new paper, the letter is a forgery, Sir John’s response? At home, verifying that Derek had delivered the letter for Mary, that Helen had been present and taken it?

12. The phone call, Lord breasted and his realising the truth about his case? Writing the letters, his declaration of love, his death in the street, Helen’s phone call?

13. An interesting film, politics, corruption, legal processes?

ON THE NIGHT OF THE FIRE

UK, 1939, 80 minutes, Black-and-white.
Ralph Richardson, Diana Wynyard, Romney Brent, Mary Clare, Henry Oscar, Frederick Leister, Sara Allgood, Glynis Johns, Irene Handl.
Directed by Brian Desmond Hurst.

An unusual title – and considered too obscure for the American market as the film title being changed to The Fugitive.

The setting is the city of Newcastle, with some local photography, in 1939, a story set among the working class, the streets, homes, shops, the barbers, police precincts.

The story is one of guilt and its consequences – a barber, a rather sombre character played by Ralph Richardson, takes the opportunity to steal money, try to cover his tracks against police clues, and being pressurised by the police following and observing him. The money is used to pay his wife’s debts and the local lender decides to blackmail the barber. There is a fire in the neighbourhood and, on the night of the fire, confrontation between the barber and the lender, with the barber killing him.

One of the features of interest is the role of the local people, gossiping, passing on hints, drawing conclusions, ultimately confronting the police whom they say are not protecting them.

The wife is played by Diana Wynyard, affecting the Newcastle accent for her usual ladylike style. Mexican actor, Romney Brent, plays a crucial role at the end, attempting to help the barber escape. Mary Clare has a rather hysteric role as a mad woman who has seen the crime. Henry Oscar, always effectively sinister, is the lender. Included in the cast are Sara Allgood as a cleaning lady and a glimpse of Glynis Johns as a maid.

Direction is by Brian Desmond Hurst whowais to make a number of very popular British films during the 1950s.

1. A British crime drama of the late 1930s?

2. The Newcastle setting, actual location photography, studio sets for the barbershop, homes, the bars? The musical score?

3. The working class atmosphere, the streets, shops, hotels and bars, the people?

4. The introduction to Will Kobling, in the street, looking in the window, taking the money? His work as a barber, his cold manner, customers, the young boy helping? His relationship with his wife, the daughter? Going about his business? The information about the button, the clue for the police about the robbery? Asking his wife to sew the button, her realising the truth, going to buy buttons from Pillager? Her debt to him because of the dresses and keeping up with her sister? Her telling her husband? Finding the money, giving it to pillage?

5. Kit, her sister, her husband, the successful boxer, their lifestyle, their visits? Will and his antagonism? Kit later visiting her sister, taking refuge with her? Telling the truth? The sister telling her husband? The sister feeling they should have done more financially with their wealth?

6. Will, the customers, becoming fewer? The police watching him? The night of the fire, his going to Pillager, Pillager’s visit, blackmail, the attack, strangling him? Will covering of the truth, saying he went to the fire?

7. The people, rumours, gossip, repeating stories, the people in the bar, on the streets? Village mentality, the £200 reward? Speeches, smashing the barbershop windows? The antagonism towards the police not protecting the people? Not arresting the criminal?

8. The fire, the special effects, in the town, the police, the brigade? People gossiping about the fire?

9. Crazy Lizzie, her screams, distributing the pamphlets? People in the bar reacting to her? Her landlady? Talking to Jimsy Jones? Her realising she had seen Will on the night of the fire? Her fears, not wanting the money, carrying on? The women getting the information from her?

10. Kit being sent away, Will by himself, the chief of the police, agreeing for the young officer to have surveillance, the police on the corners, Will and his being hemmed in? The encounter with Jimsy Jones? Their haircut and shave, going to the attic, the plan for the boat? The issue of the money?

11. Getting the lady to come to do the cleaning, her finding the gun? Her gossiping?

12. The finale, Will and seeing the police, his final decision, walking towards the police, their gathering, with the gun, his being shot?

MOMENT OF INDISCRETION

UK, 1958, 71 minutes, Black-and-white.
Ronald Howard, Lana Morris, John Van Eyssen.
Directed by Max Varnel.

This is a modestly brief and entertaining murder mystery. However, interest is really in the investigation, of the police and of the husband of the woman accused.

The film opens with a court case and the point made about moments of indiscretion which do not diminish guilt. We realise that this will be important, especially for the wife of the lawyer who is compromised after witnessing the death of a woman at a venue that she wants to conceal.

The police pursue the various clues. The lawyer also takes things into his own hands, tracking down a false witness, threatening her with perjury, finally confronting the murderer – though the fight scene is not particularly well staged.

Ronald Howard (son of actor Leslie Howard) is the lawyer and Lana Morris is his wife.

Director Marcel Varnel, was born in Paris, worked in England but migrated to Australia in the 1960s and directed a number of series including Skippy and Neighbours, dying in Sydney in 1996.

1. Brief murder mystery? Investigation?

2. The London settings, the courts, homes, police precincts, apartment blocks, jeweller’s shops? Musical score?

3. The title, the initial court case, Paul Miller and his questions, the accused, the guilty verdict?

4. Paul, his success, legal reputation, victories in court? At home with Janet? Love for each other? His being busy?

5. Janet, love for her husband, the past relationship with Eric? The phone call, her going to meet him, his farewell, not telling Paul, saying she was going to the hairdresser? Discreetly leaving, seeing the man, seeing the murder, dropping her handkerchief and key? Screaming, hurrying to the taxi, going home, asking questions of Paul about court cases and witnesses to murder?

6. The case, the victim, on the stage, prostitution? The jewellery? The relationship with Corby? Janet interviewing her about donations, being reported as quarrelling?

7. Corby, as a witness, photographer, his model giving the alibi? Janet coming to meet him, identifying him as the killer? His criticisms of her, revealing she had met the victim earlier? Questions about her credibility?

8. The police, the investigation of the scene, the handkerchief, going to the stores, getting the information and name, going to visit Janet, Paul’s reaction? The telling most of the truth? The plausibility of the case against her, her arrest, at the police precinct, in jail? Paul and his reactions?

9. The police, the information, investigations, plausibility of the charge? Paul punching the officer? The later apology?

10. Paul, his investigations, going to see the model, taking the ring? Tracking down the jeweller’s shop? Going to Corby’s flat? The pawn ticket? The necklace?

11. Being caught by Corby, the confrontation, the fight?

12. Janet freed, the police apology, Corby to be charged?

WYATT EARP


US, 1994, 191 minutes, Colour.
Kevin Costner, Dennis Quaid, Gene Hackman, David Andrews, Linden Ashby, Jeff Fahey, Joanna Going, Mark Harmon, Michael Madsen, Catherine O 'Hara, Bill Pullman, Isabella Rossellini, Tom Sizemore, Jo Beth Williams, Mare Winningham, Adam Baldwin, Annabeth Gish, Lewis Smith, Betty Buckley, Alison Elliott, Mackenzie Astin, Jim Caviezel, Tea Leoni, Martin Kove.
Directed by Lawrence Kasdan.


When it was first released in 1994, this rather epic telling of the story of Wyatt Earp was not popular nor reviewed favourably. It was compared, to its disadvantage with the release of Tombstone with Kurt Russell and Val Kilmer.

Wyatt Earp died in 1929 and was an advisor to the silent movie makers (perhaps contributing to his own legend and that of the OK Corral). He has certainly made many appearances on screen in the form of Henry Fonda, Burt Lancaster, James Garner, Hugh O’ Brien on television. Now Kevin Costner makes him seem – well, Kevin Costner.

This is a three-hour version, trying to detail his life and career (including his tragic marriage and hardening into a lawman). There is action, including the gunfight. However, the film has the tone of the romance, of an elegy – which makes it seem very ponderous at times, with Costner often stolid.

There is much to interest, a very fine cast, and much to enjoy, always the question of law and order, of the gun and of violence. An interpretation of an icon of American history and legend.


1. The film as a classic telling of Wyatt Earp’s story? Not so well received in its day? Comparisons with Tombstone at the same time?

2. The strong credits, the director, the extensive cast?

3. The locations, for Wyatt’s early life, the West, Arkansas, Kansas, Arizona? The railways? The open plains of the buffalo? The towns, life in the towns, the saloons? Law and Order? Alaska? The musical score?

4. The early life, home, Wyatt as a teenager, the Civil War and his brothers going, returning? His father’s strong presence? His wanting to enlist, his father bringing him home? The end of the war, the brothers, the family moving to California, Wyatt and his reaction, the violence, being sick?

5. The West, the wagons, the fights, the bullies, trophies?

6. Wyatt and Urilla, courting her, the memories of the past, the romantic atmosphere? The families, the wedding, the house? Wyatt and his studies? Joining the police, upholding the law? Urilla, pregnant, her illness, the death? Wyatt and his depression, burning down the house, indulging in self-pity, drinking, drifting, the scene of his begging, stealing the horse, in prison, his father coming to get him, bailing him out, having to leave Arkansas?

7. Working with the buffalo, the skins, on the open plains, Bat and Ed Masterson, meeting them, the discussions, the comment on names, the going to work with him, the passing of time, the hides, bringing them to town?

8. Wyatt, becoming deputy in Wichita, his work, upholding the law? Life in the town? The move to Dodge City, salary, the cash from bounties? His strong reputation, his getting tougher? The shootouts, Josie witnessing this? His encounter with Maddie, her work in the town, the saloon? Her attachment to Wyatt? His not committing himself to her? The town, unrest, the Mastersons as deputies? Wyatt considering Ed too affable, Ed and his work, confrontation, his death? Wyatt going to the railway companies, searching outlaws?

9. His meeting Doc Holiday? The report? Doc Holiday coming to Dodge city, settling? Big-nose Kate, love and antagonism? The brothers and their views?

10. The argument with the wives about going to Tombstone, the mining? The Cowboy gang? Josie and her relationship to the sheriff? Her being drawn to Wyatt, Maddie, her being upset, tantrums? The portrait of the brothers, the bonding between the more, their wives? The criticism about moving?

11. John Beehan, as sheriff, contact with the Cowboys? Josie with him, her moving to Wyatt, the consequences?

12. The Cowboys, killing the Marshall, virtual and his stands, characters? Clanton and his leadership? Trouble in the town, the buildup to the OK Corral, the drama of the confrontation, the details of the shootout, the consequences? Beehan and his arrests?

13. The vendetta, Virgil injured, Morgan’s death, the response of the wives? The Earps and vengeance with enemies’ deaths over the years.

14. Doc Holiday, dentist, drinking, support of Wyatt, at the OK Corral? Subsequently? His wanting to go to the sanatorium, Wyatt taking him?

15. Alaska, the boat, the boy in admiration of Wyatt, asking him questions, the Legends?

16. The final information, Wyatt and Josie, settling in Los Angeles, Hollywood? Wyatt’s death in 1929, his life spanning the decades in the late 19th century and the early decades of the 20th?

BELOW THE DEADLINE

US, 1936, 64 minutes, Black and white.
Cecilia Parker, Russell Hopton, Theodore von Eltz, Thomas E. Jackson.
Directed by Charles Lamont.

The deadline of the title is the area below Wall Street in New York City, a diamond area.

This is quite an interesting film, with a great deal of material in its brief running time. The focus is on a young woman who is an assistant in a diamond company and the Irish- American policeman who is courting her.

There is a diamond robbery, the perpetrator insinuating himself into the company, getting the signature of the young woman for future forgeries, rather attracted to the young woman, deciding to set up the policeman as the patsy – sending a note, getting a henchmen to abduct the policeman, let slip his name so that the victims are able to tell that to the police. And the policeman is arrested, escapes, is involved in a train crash, takes the identity of one of the dead passengers, has surgery on his nose – and decides to return to clear his name. He pretends to be his twin brother but the young woman sees through him and they used by the insurance inspector to try to trap the criminal.

All of which happens, quite interestingly and entertainingly.

Director Charles Lamont was to go on to direct a lot of comedies at Universal Studios in the 1940s and 50s, including films with Abbot and Costello.

1. The title, the visuals of New York City, the area below Wall Street, Diamond district?

2. Brief thriller of the 1930s, the complexity of the plot, the characters, action within a short time?

3. The city, the officers, the clubs, the streets? The police? The train, the crash? Hospitals? The boxing gym? Authentic feel?

4. The complexity the plot, pace and editing, omission of details – and the credibility tested because of the speed of action?

5. The focus on Molly, her work with Abrams, her reliability, working back? Diamonds? Her relationship with Terry Mulvaney? Going out with him? The visit of Ackroyd? Information about the office, seeing Molly, attracted, getting the receipt from her, her signature and using it for the forgery, meeting Terry, using him as a target?

6. Molly, personally, her work, living with her aunt, Terry’s visits and her aunt’s criticisms?

7. The special delivery, the information, Ackroyd and his sending the note in Terry’s name, arriving at the office, masked, Ackroyd disguised himself as Terry, the red hair and the accent? The success of the robbery? The driver and his hitting Terry, finding him, then letting him go, his whistling and the later revelation about him?

8. The use of Terry during the robbery, the police apprehending Terry, his denials, their not believing him, his escape in the car, driving, the garage and getting the handcuffs off, getting on the train, the guards identifying him, the crash, his escape, the dead man and his identity? In hospital, the surgeon and reconstructing the nose? Leaving, going back to the city, to clear his name, pretending to be his brother, the encounters with Molly and her recognising him? The insurance investigator, collaborating with Terry, concealing his identity?

9. Molly, supported by her aunt, no jobs, leaving town, Ackroyd and his approach, offering her the job at the club?

10. Ackroyd, the members of the gang, his shrewdness in waiting, the case blowing over, the plan to release the diamonds gradually? And to make a play for Molly?

11. Terry coming to the club, the discussions with Molly, Ackroyd seeing him? His boxing identity and his boxing training, the encounter with Ackroyd’s thugs?

12. Molly and the insurance investigator, knowing the truth? Revealing it to Terry, in the taxi, the driver giving the information to Ackroyd? Terry and the taxi driver and his whistling?

13. The insurance investigator, contacts, the police, the capture of the gang?

PAROLE INC

US, 1948, 71 minutes, Black and white.
Michael O' Shea, Turhan Bey, Evelyn Ankers, Virginia Lee.
Directed by Alfred Zeizler.

Parole Inc is an interesting variation on a thriller. Michael O’ Shea portrays a government agent who agrees to go undercover to expose those involved in the prison and parole racket, bribing members of the parole board to free criminals.

The film opens with him in hospital, injured in bed, dictating his report, so that the audience knows that he has been injured but that he survives. The rest of the story is told in flashbacks – his going undercover, creating a character, with prison connections and robberies, finding villains in the club run by Evelyn Ankers, and backed up by her lawyer boyfriend, Turhan Bey. When one of the prisoners is released, the undercover agent strikes up a friendship with him as well is his girlfriend, a sympathetic Virginia Lee. The former prisoner decides to go it alone, is unmasked by the bosses and killed.

In connection with the governor and the head of police, another prisoner is paroled at the behest of the group but there is a complication and he is not arrested as had been expected as he leaves the prison. Which leaves the agent rather stranded, but he covers himself with a series of phone calls to unmask the corrupt members of the parole board, and everybody converging on a farm where he is bashed but, ultimately freed and the group arrested.

1. Interesting crime drama from the late 1940s, the United States and the attack on crime, undercover agents, the work of officials?

2. American cities, government, police agencies? Clubs? Prisons and parole boards? Crime syndicates? The outdoor spaces and farm? The musical score?

3. The structure of the film, Richard Hendricks and his injuries, dictating the story, the audience knowing that he survived but with injuries? His dictating his story? The pacing, the language he used?

4. His work as an agent, his being recruited from Washington, the governor and the police Commissioner? The exploitation of parole boards? His decision to go undercover, his identity, the setup? His going to the city, visiting the bar, the conversation with Glenda, Newton and the other men in the bar, playing cards, winning? Ingratiating himself? Most believing him, the suspicions?

5. Seeing the parole board in action, the president, Mr Jones, the society lady and her wanting to give people a chance, the official and his hostility, condemning the exploitation? The Reverend and his justice? The hearings, the decisions, the casting vote of the president?

6. Palmer, his presentation to the board, his being released, his relationship with Glenda and her devotion to him, working in the club? His being well-received? His role as a collector? Jo Jo and her payment for him, collaboration with Rodescu?

7. Hendricks, his false identity, the men going through his room, finding the evidence that he was a robber? His being accepted, his plans for a further robbery, their joining in? His discussions with Palmer, offering him the money, information about the parole board? Going to the building, the fifth floor, with Jo Jo, getting the name Barney?

8. Jo Jo, her personality, running the club, her connections, Barney Rodesscu as the suave lawyer, ruthless? Her occupying Hendricks while his apartment was being searched?

9. The plan for the release of Cooper, the payments, the connections? His being released, the plan for him to be arrested, the papers coming through too late? The criminals picking him up?

10. Hendricks, going to the farm, meeting the former owner, the welcome? Jo Jo and Barney and their arrival? Hendricks and the phone call, getting Glenda to send out the telegrams to the board, in Barney’s secretary’s name? The two arriving, suspicions? Hendricks following? Putting the tape recorder in the room? Going in, identifying them for the tape? Cooper’s arrival, denouncing Hendricks? The attack?

11. The police, the discussion, going to see Glenda, rescuing her from Newton and his violent attack? Phoning the police, the going to the farm? Finding the hidden room, the group bashing Hendricks? The final arrests? Mission accomplished?

TOMMY’S HONOUR

UK, 2016, 112 minutes, Colour.
Peter Mullan, Jack Lowdon, Ophelia Lovibond, Sam Neill, Peter Fernando.
Directed by Jason Connery.

And who is Tommy? Actually, there are two Tom Morrises in this film, the old and the junior. And anyone who knows the history of golf will be able to identify them immediately.

This is very much a golfing film, a film for enthusiasts for the sport and with a knowledge of its history. Non--golf-fans may well feel on the outer as they watch the film, allowing for the fact that there will be details of tournaments, strokes and difficulties, achievements. But they will acknowledge that this film offers significant golf history.

The setting is 19th century Scotland and information is given at the end about the careers of the Morrises as well as a number of photos of the actual characters, a reminder that Tommy Morris Jr is considered the greatest golfer of the 19th century. And his father who lived to the age of 85, was the designer of over 70 golf courses.

So, who were the Morrises and where did they live? Actually at St Andrews – so not far to go for play. The film opens in the 1860s and moves into the 1870s with Tommy Morris national champion at the age of 17 and winning four successive championships before he was 21.

The important theme for the film is that of class in British society in the 19th century. The Morris family were servant class. Old Tom Morris was seen as a servant, working as groundskeeper and caddy for the Lord of the manor. And this was the world into which his children were born. And it is very clear that they were to keep their place, that they were often told that they were not gentlemen, that they could never become members of the golf club at St Andrews, that they were paid to play by the aristocracy who bet on their success.

Tommy Morris Jr was something of a rebel, sometimes defying his father, who was always very proud of him and his achievement, challenging the local aristocrat, demanding more professional payment, but always treated humiliatingly as a person.

There is a Scots humane story underlying Tommy’s Honour, the dour Scots family life with its churchgoing and Bible reading, a very stern mother, young Tommy attracted by a local servant girl, six years his senior, defending her reputation, marrying her, her pregnancy.

Veteran Scots actor, Peter Mullan, is the older Thomas. Jack Lowdon, young and brash, brings Tommy Morris Jr to vivid life. Ophelia Lovibond is Meg, his wife, also humiliated as a servant but also powerfully defying Tommy’s rather puritanical mother. Sam Neill is the local aristocrat.

It is a film for sports lovers and golfers will personally be interested in the history, in the influence of the Morrises and the development of the contemporary sport. For others, watching the film might be a bit like being a member of the crowds who tag along, moving from hole to hole.

(A bit of Scots history. The film was directed by Jason Connery, actor and director with an Australian mother, Diane Cilento, and a Scots father, Sean Connery.)

1. A golf film? Scots film? The history of golf? Golf in the 19th century? The development of the current game?

2. The re-creation of the period? Costumes and decor? Locations, the towns, the mansions of the gentry, the districts of the poor, the golf courses? Scotland in that period? The musical score?

3. St Andrews, its history, the course, the caddies, the players, the gentleman in control of the clubs? Berwick and other courses?

4. Tommy Morris, young, his culture, his family, class issues, relationship with his father, his father’s influence on his game, the response of the public, his performance, contests and patronage?

5. Old Tom and his story, his age, experience, the family, greenkeeper, designer of courses, as a professional caddy? Relationship with his wife and children? With Young Tom, his games?

6. The Morris family, the role of the Father, his patriarchal presence, the strength of Nancy, her strict background, church, Bible reading? The children? Jackie and his disability, Tommy carrying him? The scenes at home?

7. Tom, Katie, greenkeeper, his skills, making the clubs, the golf balls, teaching his son, watching his son, making decisions? Working with Alexander Boothby? Considered a servant?

8. The younger Tommy, teenager, exuberant, his talent, his place in the family, relationship to his siblings, especially Jackie? Parents, churchgoing, Bible reading? His skill at the games? Boothby and the bets, the gentleman of the club, his being the champion for four years, under 21? His opponents, the details of the games?

9. Meg, Tommy seen her, meeting, talking, courting, buying the cake, buying the expensive dress? Travelling together? Her jobs, as a servant, being slapped for a ribbon in her hair? The proposal? The ceremony, the commitment, Tom’s mother absent, Meg confronting her, the mother coming to the dinner? Meg and her pregnancy, the difficulty of the birth, Nancy helping her, the message to Tommy? The death of the death of the baby?

10. Tommy, partnership with David, the games, the other golfers, rivalries, the crowds following?

11. Tommy and is challenged to Boothby, about money, payments, standing his ground, membership of the clubs, Boothby and the snobbery of the gentleman, condemning the Morris family always to the status of servants?

12. Tommy, the important game, his father not giving him the telegram, completing the game, the boat ride, his arriving late, Meg of the baby dead, his broken heart?

13. The further challenge, thinking of Meg, his decision to play, in the snow? His collapse, sitting at home, his father, his death at such a young age?

14. The final information, his still being considered the greatest of 19th-century players?