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?

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?