THE FAT MAN


US, 1951, 78 minutes, Black and white.
J. Scott Smart, Julie London, Rock Hudson, Clinton Sundberg, Jayne Meadows, John Russell, Jerome Cowan, Emmett Kelly, Teddy Hart.
Directed by William Castle.

The Fat Man was a successful radio program in the latter part of the 1940s, based on characters derived from Dashiell Hammett. J. Scott Smart was a supporting character actor but brought the Fat Man alive on radio as well as in this brief supporting feature from Universal Studios.

While in latter times it might serve as an episode for a television series, it is actually quite an entertaining murder mystery, mysterious feet walking along the street, the death of a dentist, the mystery of the stealing of an x-ray plate.

J. Scott Smart is very good in the central role, literally large, liking his food, but quite a nifty dancer with Julie London, good repartee, calling everyone sweetheart. His associate is the rather meek Clinton Sundberg, preparing his meals, driving the cars, patiently serving his boss.

The film is an early role for Rock Hudson who, within a few years, was starring in films like Magnificent Obsession and Giant. Julie London appears before her singing career. There is good support from Jayne Meadows as the dental assistant, John Russell is a smooth villain and, Jerome Cowan as the police chief, Teddy Hart (younger brother of composer Lorenz Hart) in a brief comic role as Shifty and actor and clown, Emmett Kelly, has a central role as a clown character.

Direction is by William Castle who directed many small budget films before his excursion in the late 1950s and into the 1960s of his idiosyncratic and often gimmicky horror films.

1. A murder mystery based on a radio play series? The strengths of the dialogue of the radio play? Visualised?

2. New York and California settings? The convention in New York? The dentist surgery in Los Angeles? The racing background? Hotels and accommodation? The circus and the clowns? Prisons? The musical score?

3. The brief plot, many characters, plenty of action?

4. Brad Runyan, the literally fat man? J. Scott Smart and his radio series, his acting career, personifying the Fat Man? The jokes about his size? The child eating the ice cream and his being threatened by his mother? The food sequences, like surgery, Bill and his attentiveness? Brad enjoying his food? Calling everyone ‘sweetheart’?

5. The opening, the footsteps, confrontation with the dentist, stealing the x-ray, pushing the dentist to his death? Jane and her discovery of the body? Her going to see Brad? His interest in the case? Bill and his assistants, taking Jane to the airport, being attacked? Brad going to the airport?

6. The case, Roy Clark, toothache, surgery, the return on and his being well-dressed, chauffeur? His not returning? Disappearance?

7. Brad, his investigations, the discussions with Inspector Starke, the photo, identifying Roy Clark as a prisoner? The discussions with Gordon at the racetrack? Tony the chauffeur, the relationship with Gordon’s wife? Brad and his pressures on Tony?

8. The visit to Ed Deets, circus, his being in the cell with Roy, six years? His sympathetic story about Roy? The revelation about the truck, the burning of the truck and the destruction of Roy’s body? The need to get the dental x-rays so that he would not be identified? Brad going to see Deets in his trailer? The flashbacks to his performance as a clown? The truth, his being the murderer, of the dentist, strangling Jane? His deals with Gordon and the other robbers?

9. The flashbacks to the robbery, the team disguised as security guards, the change of vehicle, the shooting, taking the money, checking the identities, the shootouts, Roy being injured? Prison? His getting out? Wanting the money?

10. Brad, the encounter with Pat, sultry? Talking? Brad and his skill at dancing? Pat’s flashback, the meeting at the bar, friendship, outings, the zoo and Roy talking about himself? The wedding, the photo? His disappearance, her waiting?

11. The supporting characters, Bill, patient, his own diet, preparing the food, with the gun and his military background? Shifty and his contacts? Starke and the police, their collaboration? Starke listening to Brad’s explanation of what happened, especially about the explosion on the truck? The visit to the truckies, the owner, disparaging his brother-in-law, the brother-in-law with the information?

12. The buildup to the solution, the caravan, the shootout, Gordon and the criminals shooting, Deets going into the big top, climbing the ladder, being shot and his fall?

13. A satisfying murder mystery, B-budget supporting film?

 

 

 

 

 

SMALL TOWN KILLERS/ DRAEBERNE FRA NIBE

Denmark, 2016, 94 minutes, Colour.
Ulrich Thomsen, Nicolas Bro, Mia Lyhne, Lena Maria Christensen, Marius Docinski, Gwen Taylor.
Directed by Ole Bornedal.

No, this is not a serious Danish look at serial killers out in the countryside in small villages. Rather, it is a black comedy, not without a body count.

Early in the film, the local policeman refers to the two central characters, two private enterprise builders, Edward and Ib (Ulrich Thomson and Nicholas Bro), as Dumb and Dumber. He means the characters played by Jim Carrey and Jeff Daniels in the 1995 comedy. In fact, the policeman could have referred more tellingly to the prequel, Dumb and Dumberer. They certainly are.

Older audiences may enjoy the marital problems of the two builders and their wives. The men are sex-preoccupied, sex on the brain (though brain does seem to be an overstatement in this case). They discuss it, one going to a therapist, the other ogling his wife as she prepares to go salsa dancing in the local church. The wives, on the other hand, have more things on their minds, the possibility of having children, a more meaningful relationship. And, at the salsa lessons, they are enthralled by the enthusiasm and verve of the instructor (and regret that he is gay).

And the title? First of all, the men decide to divorce their wives but find that this would be hugely expensive, even though they have a whole lot of cash stashed away in the fridge in the basement, they're doing a lot of their work by hand and cash payments rather than contracts. Then, Edward gets the bright (only for the moment as he goes online) to hire a hitman to get rid of the wives. He chooses a Russian. Actually, when the wives discover what has happened and encounter the hitman, they decide to go British, so much more understated and disciplined, and hire Miss Nippleworthy (it's that kind of comedy), Gwen Taylor, doing something of an audition for a murderous Miss Marple.

Obviously, things are going to get out of hand. The Russian, is continually drunk and continually drinking, murdering the Afghan taxi driver who curses him. Corpse number 1 to get rid of. And there will be more.

Of course, the men change their mind, trying to persuade the hitman to go back home, trying therapy so that his memories will be erased, dressing up in drag and pretending to be their wives declaring that they now love their husbands and he needn't kill them!

The ending will provide very little surprise, not the facts, of course, but the manner in which it all happens, Miss Nippleworthy going down as she sings Rule Britannia.

Ulrich Thomsen as Edward generally plays in dramas and comedy is not his forte, even though he does let loose at the end dancing salsa. Nicolas Bro on the other hand, a large actor, is much more at home in comedy, especially when his let his inner female out, pretending to be his wife, and reminiscing about a first date as a teenager (girl).

In fact, the Danes are not noted for their plight comedies – and when the two wives explain to Miss Nippleworthy that they would like their murder to be Scandinavian, she replies 'dull and dark'.

Some amusing moments but, all concerned may have been trying too hard.

1. The title? Nibe the small Danish town, the town itself, the countryside?

2. A Danish story, Danish style and characters, Dull and dark? The continual references to the film Dumb and Dumber and its characters? An appropriate description of Edward and Ib? And their behaviour?

3. A black comedy, Danish style? Light touch? Heavy-handed?

4. The focus on Edward and Ib? Ib and Gritte and the marriage counselling, sex-preoccupied, the large man, his attitude towards his wife, her wanting something more from life? The eccentric therapist and her look, manner, talk? And her later reappearance? The contrast with Edward at home, ogling his wife, her preparing to go to Salsa? His sexual preoccupation? The two men, the continued conversations, sexual details, sexual inadequacies? Attitudes towards their wives?

5. Salsa in the church, the cleaner and his dancing during the credits, Bent, his work in the restaurant, the story of his sporting accident, people mocking him, the dancing, in partnership with the instructor? The couples and their dancing, the instructor and his emotional enthusiasm, the wives and their response? His being gay?

6. The two men, their work, builders, cash encounters, hidden money in the fridge in the basement? Delays in their work, lazy, time off, talking, lunch? The confrontation of the couple and the old lady, not finishing their work, the threats about higher wages?

7. The wives and confrontations with their husbands? The men and their drinking, discussions about divorce? Going to the lawyer, his explaining the huge payouts, alimony? And his own sexual behaviour?

8. Edward, drunk, going online, the black humour of hiring a hitman online? Russian? Explaining It to Ib? Their plan, going to the airport, Igor and his drunken behaviour, their wanting to send him back, the officials refusing, their welcoming sign? Taking him in the taxi? The Afghan driver, his strict interpretation, insults to Igor, Igor killing him? The Bin Laden tattoo? Igor digging the grave and burying him? The men taking him home, his continued drinking, thinking he was in a hotel, the wives not expected, arriving home, talking with Igor, his explaining his mission to kill the wives? Their hurrying the way, arrested for drink-driving, safety of the cell?

9. The policeman, holding up the men, challenging them, giving them the ticket? Arresting the women? His later confronting Igor? His not being happy in life and Igor killing anyone who is not happy? The burial?

10. Igor, his character, his story in the Ukraine? His happy parents, 50 years married? His lecture to the men about being faithful and loving? The decision to take him to the therapist – and Igor killing her because she was not happy? Another burial?

11. The women, going online, choosing a British killer? At the airport, the arrival, like Miss Marple, the death of the official in the airport? In the car, her case full of implements, coming from
the asylum, pretending to be a nurse, her mission in life to put people out of their misery? Talk about poisons? The women going back on their idea?

12. The men going to the dance instructor, seeing Bent, borrowing the wigs, dressing up as their wives, in the dark, persuading Igor not to kill their wives? His lecture to them about being
ugly and not loving? Ib and his going into his role-play, the inner woman coming out?

13. The wives, their arrival, their all being tied up, lectured by Igor? The attack on Igor? His death? The arrival of the British killer, throwing the knife, singing Rule Britannia, her death?

14. The completion of the wall, the old lady and discussions about the clitoris and her offer? The huge wall and the burial of all the bodies?

15. But comedy and happy ever after?

 

PET

US/Spain, 2016, 94 minutes, Colour.
Dominic Monaghan, Ksenia Solo, Jennette Mc Curdy, Da' Vone Mc Donald, Nathan Parsons.
Directed by Carlos Torrens.

Pet sounds like a rather innocuous title. But the story is not innocuous. It has many twists. At first it focuses on a lonely young man in his 30s working at a pet shelter. It then moves to something of a stalking story and then becomes an abduction story with the young man caging a young woman in the vein of the basic plot of John Fowles’ The Collector, filmed in 1963 with Terence Stamp and Samantha Eggar. And there have been similar abduction and collector stories since.

Dominic Monaghan, remembered for his role in Lord of the Rings, is the young man, who declares that he wants to save the young woman with whom he went to school after he reads her journal and discovers she is a serial killer. Imprisoning her in a cellar under the pet shelter, he tries to help her to her real self while she tries various ways of manipulating him. One her close friends appears and gives her advice, this happening in her mind.

Complications occur when the security man discovers the cellar and is murdered in a gory fashion, and his body disposed of by feeding the dogs upstairs. There is a police investigation but, in the meantime, the young man has been persuaded to cut off his finger out of love for the young woman – but she seizes his knife, hold it to her throat, escapes, publishes her story, but returns to the cellar where the young man is imprisoned.

Touches of the gory but, with so many twists, the plot continues to invite interest and curiosity.

1. A thriller of stalking, imprisonment, serial killers, power-play?


2. The Los Angeles setting, the streets and homes, restaurants, pet shelters? The underground cellar? The musical score?

3. The title, Seth and his working on the animal shelter, the animals, pets, to be destroyed? The administration? Holly, liking animals? Her being abducted, caged like a pet? Her turning the tables on Seth? His taking her place?

4. The various twists in the plot: the stalking, the parallel with The Collector with the abduction, the story of the serial killer, the evangelistic approach to saving the killer, the power-play and psychological twists, the gory murder and the feeding of the dogs, Seth sacrificing his finger, Holly turning the tables, the attack, Eric’s murder, Seth’s imprisonment?

5. The portrait of Seth, his age, single, his job, with the pets, concerned about the animals, careless in his work, interactions with Nate, asking his advice, the threats from the boss? His seeing Holly on the bus, the conversation, memories of the past, her cool response? His online research? Discovering all about her? Knowing all about her? Going to the diner, his rehearsal of the conversation, dressing up? The reality of the visit? Her rejection of him? His sending the flowers? Following her, her spraying the man, his being set on fire?

6. The preparation for the abduction, finding the cellar, preparing the cage, locking the door? Testing the anaesthetic? Taking Holly, imprisoning her? His motivations, wanting to save her? His love? Her reactions, hostile? Limits of food, drink, the pan? Her washing?

7. The revelation that she was a serial killer, the Journal? The secrets? The background of her relationship with Eric, his messages, not the flowers, Eric and his punching Seth?

8. The continuing of the relationship, Holly and her power-play, revelation about herself? Claire’s presence, talking, the flashback to the death of Claire? How much in Holly’s mind? The different personalities?

9. Nate, interactions with Seth, his discovering of the cellar, Holly’s appeal, the lock, Seth’s attack, killing him? Sawing the body, feeding the dogs? The police investigation, the times, the interrogation of Seth?

10. Holly, playing on Seth’s sympathies, exercising her power, allure? The bargain about his cutting off his finger? His doing it? Her seizing the knife, holding the knife to her throat, pressurising Seth? Stabbing him?

11. Her escape, publishing the story, discussions with Eric, his phone, the threats – killing him?

12. Her going to the cellar, Seth disfigured, imprisoned?

TEAM SPIRIT/ L’ OUTSIDER/ THE OUTSIDER

France, 2016, 117 minutes, Colour.
Arthur Dupont, François- Xavier Demaison, Sabrina Ouazani.
Directed by Christophe Barratier.

There is something of a tradition about films which focus on stock exchanges – especially since the 1987 Wall Street and its 2010 sequel. There has also been Martin Scorsese’s The Wolf of Wall Street as well as dramas like Boiler Room and Margin Call. This film is in that vein – and is entitled The Outsider rather than the English title, Team Spirit.

The film starts rather grimly with an interrogation of one of the workers at the exchange and his subsequent suicide. The film introduces a young man, Jerome Kerviel (Arthur Dupont giving a substantial performance), and goes back eight years. It traces then the rise and rise of Jerome, a whizzkid at his screens and with his phone, making money, ingratiating himself with authorities, collaborating with his fellow workers.

Rise and decline, fall. In the difficult years of the first decade of the 21st century, after 9/11 and with the Global Financial Crisis, and Jerome’s increasing self-confidence and promotion, he begins taking risks, overstepping his authority, hiding billions. Eventually, he is called before the authorities.

The story is based on actual events and the career of Jerome Kerviel who eventually goes to prison and has a debt of billions – but, the final information given is that he did not spend so much time in jail and has instituted appeals concerning his convictions.

Most of the action takes place on the floor of the exchange which makes the experience somewhat frantic as the audience watches the frenzied activities of the buyers and sellers.

1. Based on a true story? The career and downfall of Jerome Kerviel? His biography, historical records, court records?

2. The Paris settings, the focus on the offices of Societe Generale? Outside, apartments, family home, nightclubs? The musical score?

3. Tradition of films about stock exchanges, shares and sales, the frantic nature of the floor, the frenzy of the buyers and sellers?

4. The historical background, French finance, Societe Generale? The impact of 9/11? The aftermath? Wheeling and dealing? The personalities involved? The amounts of money? The risks? Deceit, covers? Exposes? Consequences? Suicides? Officials being fired? Taken to court? Prison?

5. The film creating its atmosphere, confining most of its action to the floors, the agents and their interactions, mainly men, macho styles? The role of women? The ages of the men, the bosses, long experience, the up-and-coming young men, the characters, capacities, hard work, enthralled by the work, seduced into taking risks? Self-confidence?

6. The opening, the officials and the interrogation, the man being fired, taking his boxes, going to the dump, killing himself? The resumption of this narrative point?

7. Jerome, age, personality, his parents, his father’s disapproval yet pride, his mother? His father’s illness and death, Jerome going home? The personal potential?

8. At work, his skills, speed at work, Keller and his encouraging him? The narrative going back eight years, the forward progress, his work, making friends, the associates, the boss? The gatherings, the socials? At the strip club? At the annual get-together and the Zorro play?

9. Business over the years, buying and selling, timetables, the end of the day, reviewing the work? The boss, interactions with Jerome? Seeing him in the restaurant with the woman?

10. Sofia, her place at work, her friendships, relationships, hostility towards Jerome, change of attitude, supporting him? And the disillusionment? Jerome and the possibility of his transfer to New York?

11. The time passing, the new associate, black, opportunities? The growing risks, making money, under the carpet, the billions?

12. Suspicions, timing, the effect on Jerome? Global financial situations?

13. The interrogation, his denials, his wanting opportunities to save himself, the reaction of the fellow workers?

14. His being exposed, going to prison? The short time served? Legal implications? The information at the end of the film about his further appeals?

LOST & FOUND

US, 1999, 95 minutes, Colour.
David Spade, Sophie Marceau, Patrick Bruel, Artie Lange, Martin Sheen.
Directed by Jeff Pollack.

The success of this film will depend mainly on whether the audience likes comedian David Spade or not. During the 1990s he appeared in two films with Christopher Farley, Tommy Boy and Black Sheep which both acquired a strong comic reputation, but this ended with the overdose death by Christopher Farley. Lost and Found is an early film for David Spade on his own. He is more noted for television appearances and the Joe Dirt films.

Spade capitalises on his short stature and his being put upon as well as deadpan jokes, pratfalls and physical humour.

The film opens with his being rejected by his girlfriend, a stripper in a club. He actually owns a restaurant which, given the behind-the-scenes upsets, it is surprising that it is so successful. With his friends, his plans for expansion.

However, the main story of the film is his meeting his French neighbour, Lila. She is played with some enthusiasm and verve by Sophie Marceau. At the time, many reviewers expressed surprise at her presence in this kind of film but, she seems to be enjoying herself, reinforced at the end where the cast dances exuberantly during the credits, including herself. Her character is escaping from France and former boyfriend, Patrick Bruel, who also turns up in California, clashes with Spade and is humiliated at the end with a comic moment where a young boy accuses him of molesting him in an aircraft toilet, something which audiences are more sensitive to given the publicity since that time of the world learning about sexual abuse prevalence.

Much of the action concerns Spade’s searching for Lila’s dog, who also swallows an important ring – and the audience can anticipate what is going to happen there.

Towards the end, Martin Sheen appears as the president of the bank with Spade wanting a loan – and the screenplay gives him the opportunity to win it because Neil Diamond is expected at the banquet and Spade does an improvised performance which is a great success.

So, an example of American humour and of David Spade’s humour.

1. A 90s comedy? The comedy of David Spade? The surprising French presence?

2. California, apartments, streets and beaches, restaurants, society galas? The Hollywood Bowl?

3. The musical score – and the Neil Diamond impersonation?

4. The comedy style of David Spade, small, put upon, yet assertive? Unlucky in love? Yet his skill and his work, the restaurant, relating to people? The plans for the restaurant? The rejection by the stripper? His infatuation with Lila, helping her with the dog? The clashes with René? The deadpan remarks? The physical humour? The interactions with Wally, the misunderstandings? The time with the dog, the loss of the ring, recovering it? His encouragement of Lila? The Hollywood Bowl? The request for the loan, the plans? Catering for the function? The impersonation of Neil Diamond, success with the boss’s wife?

5. The presence of Sophie Marceau, escaping from friends, relationship with René? Playing the cello, her awkwardness, self-effacing? In California, the dog getting away, Dylan recovering it? René and his pursuit? Dylan taking her to the Hollywood Bowl? At the function, René to introduce her to the conductor? The recovery of the dog, hearing Dylan explain – and her rejection of him? The later reconciliation?

6. René, the French womaniser, pursuing Lila? Antagonism towards Dylan? The issue of the dog, the offer of the reward? His finding it, refusing the money? Promising Lila the interview, his failing? The issue of the dog, its discovery? His attempt at attracting Lila – and his being naked? His comeuppance? The boy accusing him in the plane?

7. Dylan and his friends, Wally, his size, awkward, at the house, being mistaken for partners? Searching for the dog? Finding the dog? Support of Dylan? Dylan’s friend, the meal, the ring, minding it, the dog swallowing it, the attempts to get the ring back, the awkwardness? Delivering it and making his friend happy?

8. The bank, the sycophantic assistant, the boss, Dylan’s appeal for the loan, Dylan saving the day with Neil Diamond, and the promise of the loan?

9. Happy ending, Dylan and Lila together – credible or not?

10. The cast dancing exuberantly during the final credits?

THE VOICE OF MERRILL

UK, 1952, 84 minutes, Black and white.
Valerie Hobson, Edward Underdown, James Robertson Justice, Henry Kendall, Gary Marsh.
Directed by John Gilling.

This is a brief, entertaining murder mystery from Britain in the early 1950s. Valerie Hobson had been in films since the 1930s and was soon to bring her career to a close to look after her children (and later deal with the scandal concerning her husband, John Profumo). Edward Underdown was getting leading roles but continued in television for the succeeding decades. James Robertson Justice portrays, is almost always, a hugely gruff and cranky man (and it is not surprising to hear that in real life he didn’t I from a stroke). Henry Kendall is a publisher.

The film focuses on the BBC, opening with BBC house and then showing a man’s feet walking towards the building and then murdering a young woman. The three men suspects, Edward Underdown as Hugh, a writer, having a date with the murdered woman; Parker the publisher being blackmailed about investment by the young woman; Jonathan, James Robertson Justice, despising her lack of intelligence as he despised practically everyone else.

While the police investigate, a situation arises where Hugh is asked to read stories on the BBC actually written by Jonathan, honestly. They are very popular but Jonathan realises that Hugh and his wife are attracted and, so, he writes the final story is a kind of confession about the murder of the young woman, the police interpreting it as Hugh being the killer.

There are complications with Parker not telling the truth, with Jonathan death and blame for his wife – and some retribution for her, and the moral codes of the time for films, in her being involved in a car accident even as Hugh is exonerated.

Writing and direction is by John Gilling who made a number of short features in the 1950s and into the 60s but moved then into quite a number of horror thrillers.

1. A small British film? Strong cast? Murder mystery? And the focus on the BBC?

2. London settings, offices, flats and homes, radio studios? The musical score?

3. The murder mystery, the three suspects, the victim? The opening, BBC house, the ordinary street, following the footsteps, the murder? The revelation that the woman was employed by Parker, was on a date with Hugh, was known by Roach? Her blackmailing Parker? Roach and his dismissing her intelligence?

4. At the restaurant, Hugh waiting for his date, noticing Alycia, the gradual glances, her gradual smile? Parker arriving, inviting Hugh to the table? The phone call about the death?

5. Alycia, her being married to Jonathan, the credibility of the marriage? Her roving eye with Hugh? The scenes at home, the tension with her husband?

6. Jonathan, the James Robertson Justice personality, gruff, unwell, his medication, the doctor? His condemnation of everyone? Inspector Thornton, going to the theatre, the rehearsal of his play, his barbed criticism of the actors? His condemnation of the dead woman? At home, with Alycia, taking his medicine? The short stories, Alycia encouraging him to broadcast them? The arrangement with the BBC? Parker as publisher? His writing the stories? The meeting with Hugh, suspicions about him? Agreeing that Hugh should read the stories? The anonymous title, Alycia’s maiden name?

7. The success of the stories, Hugh and his success, audience assuming that he wrote the stories? Celebrity, letters, the BBC, autographs? The photo in the street, in the paper?

8. With Alycia, the dinner, the drive, the visitor’s office, reading the script? Praising it to Jonathan? Her encouragement of Hugh reading the broadcasts? Her encouraging him to take the credit for the writing? Her love, plans for the future? His success as a writer?

9. Jonathan, knowing what was happening, the issue of the drops and his wife, the attack, his dying of natural causes? Alycia, worried about being arrested? Hugh and his phone call, wanting to confess and save her? Her hurrying to the meeting?

10. Parker, Jonathan’s letter, not to reveal the truth about the authorship of the Merrill stories? Parker refusing to support Hugh?

11. The police listening, the story as something of a confession – the assumption that it was Hugh? Parker not supporting him because of the loan and his appeal to Jonathan?

12. Alycia, hurrying, calling out, the accident in the street – and so her being punished? And the revelation of the truth?

BEDELIA

UK, 1946, 83 minutes, Black and white.
Margaret Lockwood, Ian Hunter, Barry K. Barnes, Anne Crawford, Beatrice Varley, Louise Hampton, Jill Esmond.
Directed by Lance Comfort.

In 1945 Margaret Lockwood had had a screen success with her portrayal of the evil highway woman in The Wicked Lady. Here she has an opportunity to portray an attractive but psychotic woman who has murdered several husbands – and would, in later decades, be called a serial killer. The film opens with a voice-over commentary on her portrait and how evil she is.

The initial setting is Monte Carlo in 1938, attractive for British tourists. Bedelia has married Charlie, a businessman (Ian Hunter) and he is absolutely devoted to his new wife. The audience also sees an artist (Barry K. Barnes) who seems to be an artist but the audience suspects and soon realises is actually a detective pursuing Bedelia. She is unwilling to have her photo taken or portrait painted but she reluctantly agrees.

The couple return to the home in Yorkshire, he an industrialist relying on his assistant played by Anne Crawford. All seems to be going well except that the detective turns up, has painted a picture and signed it with the alleged husband’s name, and is further investigating Bedelia’s murders.

The film becomes more melodramatic towards the end as Bedelia wants to escape from the house, her husband is reluctant because of business, does not believe the detective with his revelations but ultimately is convinced. Bedelia kills herself – and the audience once more looks at her portrait.

Direction is by Lance Comfort directed a number of minor British films.

1. A post-war British drama, touches of the thriller?

2. The Monte Carlo settings, hotels, shops, atmosphere? The contrast with Yorkshire, the village, the mansion? The seasons, the snow? The Christmas celebration? The musical score?

3. The title, the initial portrait, Chaney, his voice-over and indicating to the audience Bedelia as evil? Margaret Lockwood, her screen presence, the portrayal of evil characters?

4. The novelist, adapting her novel, transferring from US 1913 to Europe in 1938?

5. Audience curiosity about Bedelia? As a person, as an attractive woman, her marriage to Charlie? His romantic attentions to her? The encounter with Chaney? Her wariness of photographs, not wanting to be painted, reluctantly agreeing and posing? The story of her dead artist husband and no paintings existing?

6. Charlie, businessman, age, attracted to Bedelia, marrying her, his lavish attentions, life in Monte Carlo? Friendship with Chaney? Wanting Bedelia’s portrait painted?

7. The return to Yorkshire, the setting up of house, Ellen and her welcome, Mary and the servants? The way of life, Bedelia as the lady of the house? Growing number of friends, the Christmas celebration, the many visitors, society, the gifts, the gossip?

8. Chaney, the audience seeing him at the jeweller’s shop, Bedelia and the valuing of the ring? His paintings? Audiences suspicions of him? The fact that he was a detective, pursuing Bedelia? His painting the picture, signing it with her alleged husband’s name, the Christmas gift, her reaction?

9. Charlie, his illness, Chaney and his suspicions, the role of the doctor? Chaney hiring the nurse, Ellen seeing him talking with her, his pretending he did not know her?

10. The nurse, strict regime, looking after Charlie? Bedelia and her wanting to take over? Firing the nurse? Letting Mary go home? Charlie and his medication, her sinister behaviour?

11. Bedelia and her appeal to go away, Charlie and the practical applications of his work, Bedelia going out in the car, the crash, her return?

12. The role of Ellen, devoted to Charlie, the place with his work, going to the station concerning the imports, seeing Chaney and the nurse?

13. Chaney, the news of the Scottish captain? The flashbacks about the Scots situation, the death of the husband? The story about Maureen and her red hair?

14. Bedelia, imploring Charlie, his learning about the ring and not believing Chaney, discovering the ring in Bedelia’s purse, putting it beside her bed, the revelation?

15. The gun on the table, Bedelia looking in the mirror, killing herself? And the audience looking at the portrait again?

16. The story of a murderess – and in later times, a serial killer?

THE LEGEND OF BAGGER VANCE


US, 2001, 135 minutes, Colour.
Matt Damon, Will Smith, Charlize Theron, J. Michael Moncrieff, Bruce Mc Gill, Joel Gretsch, Lane Smith, Presnell, Jack Lemmon.
Directed by Robert Redford.

Rannulph Junuh is the golden boy of golf, winning all the tournaments in the South by the age of 16. He is in love with Adele Invergordon, daughter of a Savannah businessman. Junuh volunteers to go to fight in World War I, he leaves for Europe in a blaze of glory. His combat experiences so traumatise him so much that he loses his self-confidence and his golf swing. When he finally arrives back in Savannah after an absence of ten years, he spends his time drinking and playing cards with his black friends.

John Invergordon has built the most luxurious golf course in Georgia. After his suicide at the onset of the Depression, creditors demand compensation from Adele. She impulsively promises to host a golf championship. With her charm, she manipulates two champions into participating. When the townspeople complain that there is no Savannah contestant, young Hardy Greaves, an admirer of Junuh, suggests Junuh play and tries to persuade him to enter the competition. He finally consents.

Bagger Smith, a vagrant, bets Junuh that he can win. Bagger offers to be Junuh's caddy. Gradually, he enables Junuh to face his demons, acknowledge his love for Adele, and train hard for the tournament.

Junuh plays erratically but relies on Bagger's wisdom and the support of Hardy. As victory seems a real possibility, Junuh regains his swing, his self-esteem and self-confidence. Bagger moves on, leaving Junuh to win on his own.

Golf is not a sport that lends itself readily to screen drama. While there have been biographies of champions like Ben Hogan (Follow the Sun, 1951) or comedies like Caddyshack, the major golf movie is Ron Shelton's The Tin Cup (1995) with Kevin Costner.

Robert Redford's movie enables its audience to follow the golf tournament closely and clearly. Redford, however, is more interested in golf as a symbol. The movie is a 'legend'. As with fly-fishing in A River Runs Through It, golf is used as an analogy of the human struggle and the human spirit.

Rannulph Junuh, played by Matt Damon, is a hero, a young sports champion, a decorated soldier. Disillusioned by the horrors of war, he has lost his nerve and abandoned any effort to regain his life. America, by the 1930s and the Depression, had also lost its nerve. Junuh discovers that he is not alone. Adele (Charlize Theron) still loves him though desperately hurt by his neglect. Hardy Greaves offers him the support of genuine hero-worship. Bagger Vance turns unexpectedly to be his mentor.

Perhaps this is where the movie is implausible. Not in its presentation of Bagger Vance as a guardian angel who guides Junuh in his struggles and leads him to rehabilitation, but that Bagger is played by Will Smith. Smith gives a pleasingly restrained performance. Would a black American, however, be allowed near a golf course in Georgia in the 1930s? Redford is an idealist, a deeply humane director, a man of hope.
Ranulph Junuh is an 'Everyman' figure: heroic American hopeful and golf champion; victim of the injustice of grim warfare in the trenches. Savannah is his Emaus and he returns, shattered, unable to see any hopeful possibilities for his life after his Calvary. He is incapable of rising to new life.

He is joined on his journey by the mysterious Bagger Vance. Bagger Vance is a genial stranger, a modest caddy, a catalyst for Junuh to become more aware of himself, to regain his golf swing (which was his life), to reawaken his love for Adele. And, when Junuh has recovered his life, Bagger Vance disappears to accompany others on their journeys.

1. A golf film? The popularity of golf films? The select audience?

2. The Savannah settings, costumes and decor of the period? The early 20th century? The 20s and 30s? The musical score?

3. The golf sequences, play, practice, the detail for golfers, caddies, gear, the followers, the media?

4. The framework, Hardy and his playing, an elderly man, his voice-over, collapse, his memories? Jack Lemmon in the role?

5. The period, World War I, life in the south, Hardy and his father in the shop, watching the golfers, hitting the ball and running? His story?

6. Rannulph Junuh's success: in golf, in Savannah society, with Adele? Going off to war in a blaze of glory? The bitterness of trench warfare and death? His loss of nerve, finally returning home but avoiding any involvement with golf and with old friends?

7. The building of the golf course, the wealthy man, Adele supporting her father? The depression, the headlines, the suicide? The councillors of the town, creditors? Adele, staunch, her idea, interviewing Hagan, interviewing Bobby Jones? Their reputations? The possibility of a golf match during the Depression? Hoping that tourists would come? Adele and the financial risk?

8. The local meeting, Adele and her appeal, Hardy and his offering to find Ranulph? Going out, the drinking, the cards, Hardy and his appeal? Adele, arrival, the sexual attraction? Ranulph thinking it over, the decision?

9. The press conference, the crowds, the two players, their appeal, yet the local hype? The crowds and the media?

10. The casual arrival of Bagger Vance, his genial company, his work as caddy and coach, his being a catalyst for Junuh's recovery? His leaving before the victory? His friendship with Hardy, encouraging him to be the caddy? Bagger as a guiding angel?

11. The golf tournament and what it meant to Junuh: for his self-respect, his swing, the support of Hardy and Bagger, the people? The personalities of Hagan, his being a flirt, the details of his game, the difficulties? The contrast with Bobby Jones, his reputation, lawyer and family, genial, his last game, yet wanting to win? The ups and downs of the game? The final tension, Ranulph and his favours, being encouraged by Bagger to shoot through the trees, ultimate victory?

12. The joy of the win, Ranulph and Adele? The morale boost to the south, to Savannah?

13. The interesting issue of Will Smith as Bagger Vance, and the role of African- Americans in Savannah during this time?

14. The return to Hardy, the adult, his story and the joy of reminiscence? And the praise of golf?

BROKEN

UK, 2017, 6X 60 minutes, Colour.
Sean Bean, Muna Otaru, Mark Stanley, Aine Ni Mhuri, Paula Malcolmson, Naomi Radcliffe, Aisling Loftus, Adrian Dunbar, Anna Friel, Thomas Arnold, Ned Dennehy.
Directed by Ashley Pearce, Noreen Kershaw.

Broken (d. Ashley Pearce, Noreen Kershaw) was written by Jimmy Mc Govern, a priest follow-up to his 1995 film, Priest, already considered as a key film of the 1990s. At the time of Priest, Mc Govern was reconsidering his belonging to the church, a recovering Catholic. With Broken, he is in admiration of contemporary priests and their ministry.

As with Priest, the series ends with a significant Mass and the congregation coming to Communion. Key characters attend the funeral Mass for the mother of Fr Michael Kerrigan (a significantly powerful performance by Sean Bean). There has been pastoral support for each of them, not without some harrowing difficulties. And each of them, as they receive the host, declare to him, ‘Wonderful priest’. This was not expected by Michael or by us.

Broken is a significantly Catholic series. Some bloggers felt disturbed by some of the dialogue thinking that it could not have been written by a Catholic. It was. And it is profoundly Catholic, not in the older restrictive perspectives but pastorally relevant in the contemporary world. At times, Michael does have some outbursts: encouraging a mother concerned about pregnancy with remarks that the Blessed Virgin Mary had it easy in conceiving. This connects with a later, more vigorous outburst at Mass about the Church’s statements over centuries derogatory of women, of fear and ignorance of women’s bodies, fear of menstrual blood on the altar – and no wonder that the decisions are against women’s ordination. He pleads for women priests, women bishops, a woman Pope. It can be noted that there is an advisory credit to a Jesuit priest and that details are very accurate, current translation of Mass texts, vestments, background hymns, Mass celebration, confession and the seal, communion, anointing of the sick and dying.

Michael Kerrigan is a hardworking Liverpool parish priest in a working-class parish. He is in his later 40s. He has a strong sense of the pastoral church, his horizons local (only a fleeting reference to the bishop) and getting support and discernment from a fellow-priest (Adrian Dunbar), able to visit him at any time to raise issues and to pray. It is this friend who, at the end, when Michael is tempted to give up on the priesthood after his mother’s death, encourages him to stay and notes, Fr Michael is able to forgive everyone but finds it hard to forgive himself.

The expected themes are raised directly and frankly. We get a good idea of the strength of Michael’s faith and commitment as a priest, his taking for granted his pastoral role and the need for listening and for personal presence. Faith and commitment are a journey, not quickly achieved. His life can be lonely, alone in the presbytery – prayer and some support in a drink. He is a committed celibate (while regretting and still retaining some guilt and shame about his teenage treatment of young women, exploiting them while condemning them as sluts for having sex with him.) He is propositioned by a desperate woman planning suicide. He is challenged by a gay man as to whether he ever wondered about his sexual orientation (and Michael admits that he felt suicidal) and whether as a celibate, he has a wank. Michael respects the authorities in the church but they do not impinge very directly on his day-to-day life.

Considering the worldwide loss of respect for the Church, especially in the Western world, the seeming lack of credibility in stances on sexual morality, the scandals of clerical sexual abuse, Jimmy McGovern? offers a convincing portrait of a good priest.

In the six episodes of the series, Mc Govern raises contemporary social issues, very much akin to the films of Ken Loach like I, Daniel Blake, identifying with ordinary people and experiences of oppression, treatment by authorities, and social problems of addictive gambling, mental health, homophobia.

And Michael has problems from his past. These are featured in flashbacks which occur during the Mass, during the consecration of the wine. They grip Michael’s memory and imagination, making him pause, struggling to get out the words. He has sad memories of his father, of his mother being harsh and criticising him, of stealing money at school. But he also has memories of a predatory priest, of changing rooms and class rooms, of the exhilaration of listening in class to Gerard Manley Hopkins’ ‘The Windhover’, as well as talking about literature while the priest touches his leg under the desk.

There is a powerful flashback when the young Michael has given up church practice and he encounters a man who has trained and flies a hawk. A crowd watching disperses when the hawk does not return as promised. Michael waits – and it does return. And, he says, I was back in the Church. The power of the windhover.

One of the most dramatic sequences shows Michael tracking down the now former priest-abuser, an older man, coming home from his shopping. He is callous in his answers, self-defensive in mitigating his behaviour (especially since notes Michael had successfully become a priest), in not really caring about what he had done and its effect on the boys. Michael’s explosive denunciation, angrily heartfelt, the culmination of years of tormented memory is a dramatic highpoint – one that could be seen on its own in the context of discussions about clerical abuse, the effect on survivors and the callous moral imperviousness of the perpetrator.

It is in his pastoral dealings with parishioner that we see the priestliness. Michael is generous with him time, in his capacity to listen while not having immediate answers let alone solutions. There is a touch of the ordinary in the parish group discussing the dresses for the First Communion ceremony and Michael notes the expense and suggests something more modest. The organiser of the ceremonies for twenty years is upset and leaves. Michael arranges a bouquet of flowers and a tribute to her at the end of Mass.

And, on the human side, Michael plays cards with old friends, goes to the Catholic club with its stand-up comedians, joining on stage with the chorus.

The first social case is a single mother who brings her daughter to Mass to prepare for First Communion. The Mass lasts longer than expected. She is late for work, clashes physically with her boss and is fired. When her mother dies at home, she does not tell her family, getting her mother’s pension cheque cashed and being arrested for fraud. Michael picks up the kids from school, gently confronts her about her dead mother (and listens to the angry attacks of the sister shocked at what has happened to the mother) and makes an appeal in court for leniency, especially for the sake of the children.

Another parishioner, an immigrant from Trinidad, finds that her mentally disturbed teenage son is the ‘least well’ of the inmates at an institution and his bed is needed for those who are more ill. With the son upset at home, the mother phones Michael, gets his answering machine. Tired, he lets the message go. The audience then sees the police being called, the boy with a knife to his throat, a female officer who is daily pressurised to be ‘one of the boys’, spraying the young man. Agitated, and seemingly threatening, he is shot. It is only during the intercessory prayers at Mass the next morning that Michael learns what has happened.

He continues to be a great comfort to the mother, anointing the boy at the morgue, standing by her at the police interviews. But, he continues tormented by his not answering the phone, the mother saying her son would be still alive if Michael had been able to come. He wants to tell her the truth, seeks counsel from his priest friend and does not. He is present at difficult interviews, at a vigil outside the house. A great deal of the action shows the police discussions, cover-up plans, pressure on the officer who did the shooting, his consulting Michael in confession and for advice, succumbing to peer pressure in lying – but anguished, going to Mass and Communion, asking why Michael gave him the host with Michael asking why he came and his stating that he needed Communion more than ever.

It is during the inquest that truth comes out, that Michael is shamed in not answering the mother’s call. But it provides moments of redemption for the policeman.

The homosexuality theme arises unexpectedly. The mother’s brother and sons arrive from Trinidad and encounter a gay neighbour bringing a sympathetic bouquet. He is verbally attacked by the man, mocked by his sons. The gay man is vulnerable, nearing 50, living with his mother who has just died, and grieving. When he makes the parallel in offensiveness between ‘queer’ and ‘nigger’, the brother punches him. The gay man presses charges and is sympathetically heard by the police. Since Michael witnessed the punch, he tries to mediate. The gay man has the opportunity to voice his Catholic upbringing, his sense of abandonment by the Church, his being put down and despised. The brother, however, is of the old strict Catholic formation, intransigent, no understanding of gay men, no tolerance. Tolerance is the plea of these sequences.

Perhaps the key encounter occurs when a middle-aged woman comes into the church, quite some time away from the church, begins a confession because she is about to kill herself. Michael wants to stop her but realises he has to listen. She has stolen over 200,000 pounds from her employer over eight years, is about to be exposed. She has spent it all on poker machines. She has three children, a neglectful husband, and confesses to affairs after his infidelity. It is she who later propositions Michael.

Michael is able to extract promises that she will delay her suicide. This leads to a bonding friendship, an encounter when she brings her clothes to the charity shop, Michael persuading her to speak to the managers of the gambling shops (four in one street in the parish and no bank). She confesses to her boss, has some domestic time with her children, writes a note to her daughter and kills herself. Michael conducts the funeral, tries to help the children deal with their mother’s death (and helps clean the house with them), and copes with the daughter going into the shops and smashing the machines. He also preserves the seal of confession, not willing to give details of what he knows about her mother and her intentions.

And, all the time, Michael has to travel to visit his sister and their dying mother. There are some tender scenes, his lying beside his ill mother, singing with her Chattanooga Choo Choo and The Little White Bull. There is a kind of reconciliation, talking about death and his guaranteeing an afterlife, anointing his dead mother. Michael always lights a candle with people, reminding them of the light and presence of Christ.

1. The impact of the television series? 2017? British audiences? Worldwide? Secular audiences, religious audiences, Catholics?

2. The work of Jimmy Mc Govern, his work on Priest, on television series, The Street? Social concerns?

3. Liverpool, the parish in the area, the Church, exteriors and interiors, the two presbyteries, ordinary homes, workplaces, charities? The musical score?

4. The insertion of the flashbacks, Michael as a boy, his age, the condemnations of his mother, the mysterious corridor, the door? The denunciations? In English class, the priest reading The Windhover, his comment on the literature, the priest accusing him of cheating? The priest touching him? The changing room?

5. Christina’s story: her family, going to Mass, the children, her being late for work, the clash with the owner, the assault? Picking up the children from school? Relying on Michael? The interactions with her sister? Her mother at home? Her mother’s death, the delay in announcing it, the pension issue, going to the office? Collecting it? The children, Michael coming and seeing the truth? The police, the pension fraud? Her sister’s anger, discussions with Michael, who loved their mother more? the first Communion sequence? The bouquet for Miss Pickering? In court, Michael’s personal plea for Christina and her children? The debt of £55? Her finally being at the funeral Mass?

6. Helen’s story: her presence in England, the parish, her son, his age, in the institution, the sympathy of the staff, his being at home there? Having to leave, the “least unwell�, at home, upset, paranoia, Helen phoning Michael, the answering machine, his not ringing back? The episode, the police, the spray, the shooting? The intercession at Mass and Michael learning what happened? His comforting Helen, his anger at their not fixing the lock, going to the morgue, the anointing, his dilemma about telling Helen the truth, his discussions with Peter? Individual, Amazing Grace? His amazement at Helen’s forgiveness quoting her at Mass?

7. Andrew’s story: policeman, the case, in action, the reports about the incident, the cover-up, the interviews with the authorities, his friends, the clash, his wife and her urging him to keep his job, his mother’s urging conscience? The barbecue, the friends? His going to church, discussions with Michael, his decision to lie, his going to Communion and Michael asking him why he approached, his despair and that was why Michael gave him Communion? His presence at the vigil for the dead boy? The arrival of Daniel, his boys, the taunting of Carl, Carl and his response? Daniel hitting him? Helen and her concern, Michael organising them all to sit down and discuss? Helen saying Daniel was always overbearing? The importance of the inquest, her speech, Michael and his telling the truth and her dismay and weeping? The appreciation of Andrew’s testimony? Her shutting the door to Michael? Her finally being present at Michael’s mother’s funeral Mass?

8. Roz’s story: her approach to Michael, her age, her story, work, the stealing of so much money, the poker machines? Her contemplating suicide? Herself and her disclosure, the confessional context? Her family, her husband, his infidelities, her infidelities because of that? Confession and scenes? Michael, his capacity for listening, his plea, urging her to promise to delay the suicide? The promise, her concern about the different ways of killing herself, her she would look on the slab? The charity, giving away her clothes? Her agreement to come to the meeting to speak about the slot machines? At work, her confession, the boss denouncing her? At home, the pasta with the children, her argument with the son about stacking the dishwasher, the bath in preparation? Prayer with Michael, his advice, lighting the candle for the presence of Jesus, his telling her that there was no station of the cross where Jesus expressed his despair from the cross? The taking the dog to her mother, contacting her daughter, writing the letter to her? Jumping from the roof?

9. Chloe’s story: the contact with her mother, receiving the letter, her grief? Looking after the boys, the house in a mess, Michael’s arrival, her wariness, his helping with all the cleaning? Her going to the betting shops, smashing the machines, the owner and his first being lenient, his lecturing her about the benefits of the machines, regrets about her mother? Chloe returning, smashing machines again, the owner and his threat of a restraining order and her contempt of court? The men going into rate the machines – and Michael countenancing this into the future? Chloe coming to the Mass, hearing Michael talk about her mother, her questions and his not being able to answer because of the seal of confession? Her presence at his mother’s Requiem?

10. Carl’s story: neighbour to Helen, his grief, a gay man, late 40s, living with his mother, grief of her death? His history of persecution? Growing up Catholic and his admiration, the church condemning him in his leaving? Bringing the flowers for Helen? Daniel refusing him, the insinuations, queer? The boys playing at the door and taunting Carl? Is ordering them away? Daniel and his angry reaction, Carl is making the parallel between queer and nigger? Daniel hitting him, Carl going to the police, the sympathetic reaction, coming to the house, confronting Daniel? Michael and his role, witnessing the hit? His going to see Carl, asking him to drop the charge, for the sake of Helen? Michael in the house, talking with Carl, the death of his mother, living alone with her, 49, his grief? His history in the Catholic Church and delight in it? His feelings of condemnation because of his orientation? Anger, telling Michael to tell that to his bishop into the Pope? Daniel and his staunch Catholic stances? Michael organising the discussion between the four? Contribution of each, Carl leaving? Daniel intransigent? Carl and his decision? The film dramatising homophobic attitudes, cultural differences, harshness and injustice?

11. Michael’s mother, the past, his story about his father? His mother, illness, in bed, Michael singing the songs with her, Chattanooga Choo Choo, The Little White Bull, her daughter’s presence? The final illness, Michael present? Talking with her, saying she was a good mother in his memory? Her dying? Mike on his prayer for her soul? His saying that he could not continue as a priest after her death? Not wanting to do her funeral? Peter and his pressure? Michael and the celebration? His acknowledging how hard it was often to visit his mother? Everybody coming to Communion and affirming him as a wonderful priest?

12. Michael’s story: memory of his father, memories of his mother, her condemnation of him? At school, taking the money, his reputation? Delight in poetry, Hopkins, discussing literature? The priest, classroom, changing room, touching Michael? Away from the church, the man with the pork and its return? His backing down the priest, Roz and talk about guilt and shame, his confronting the former priest, the attitude of the priest, defensive, and Michael’s angry outburst and condemnation? His treatment of the girls, considering them sluts because of being with him? Resuming his story without details of his formation, his early ministry? His friendship with Peter, visiting, prayer, advice?

13. Michael the church, celebrating Mass, the penitential rite, the consecration of the wine and the insertion of the flashbacks? Homily? The first Communion is, suggesting less expensive clothes, the upset of the teacher, the apology, the bouquet for her at the Communion? Sacraments of the church, the range of confessions, the anointings of the sick and the dying? Funerals?

14. Michael in pastoral action, with the single mother, her sister, the children? With Helen, compassion, her son? Her brother and his intransigent homophobia? With Roz, listening to her, wanting to save her, the concern about the machines, her talk to the group? Concern about her daughter, the children, cleaning the house? The funeral? The seal of confession? The talk with Carl, his experience of being put down as a homosexual? Mediating between Carl and Daniel? Michael and his lighting a candle always to signify the presence of Christ?

15. The touches of outburst about the contemporary church, women, Mary and her pregnancy, women’s bodies, women priests and hierarchy?

16. Michael and his mother visits, his homily and saying there was some resentment in having to visit her, lying with her, the songs, talk about life after death, anointing her? His thinking of giving up after his mother’s death – and Peter’s encouragement, the local priest, the others encouraging him? Communion and his being a wonderful priest?

17. The portrait of a contemporary 21st-century pastoral parish priest?

DECLINE AND FALL

UK, 2017, 180 minutes, Colour.
Jack Whitehall, Stephen Graham, Douglas Hodge, David Suchet, Vincent Franklin, Eva Longoria, Matthew Beard, Hugo Beazley.
Directed by Guillem Morales.

Decline and Fall is one of Evelyn Waugh’s most popular novels, a look at Britain during the 1920s, a decade after the end of World War I, an age of flappers, the good life – pre-financial collapses of the 1930s and the Depression.

It was filmed in 1968 with the title Decline and Fall… Of a Birdwatcher with Robin Phillips and central role and quite an illustrious British supporting cast, including Donald Wolfit, Leo Mc Kern, Felix Aylmer.

This version was screened as a miniseries on BBC television. The director is Guillem Morales, Spanish director working in both Spain and England with a variety film and television series including Julia’s Eyes.

This is the story of a young Everyman, beginning at Oxford studying theology, bullied and stripped in a prank and sent down, finding occupation at an eccentric school in Wales run by Dr Fagan. Stand-up comedian and actor, Jack Whitehall, plays this Everyman, Paul Pennyfeather. Dr Fagan is played with finesse by David Suchet. There are eccentrics at the school including Philbrick, Stephen Graham, Grimes, David Hodge, and Prendergast, the would-be minister, Vincent Franklin. Dr Fagan relies on Paul to do all the teaching, coaching, and arranging the sports Day and dealing with the parents.

The mother of one of the boys, Margot (Eva Longoria), very wealthy, is looking for a husband. She takes a shine to Paul and invites him for the summer to her house and coach her son, Peter. At her mansion, he encounters the eccentric artist, Otto, and potential suitors for Margot’s hand, including a bumptious politician, Humphrey, who later becomes Home Secretary. Paul is caught up in the high life, is given a job by Margot without realising it involves white slavery and a visit to Marseille to check passports. He proposes to Margot.

A former friend who works for the League of Nations has been following Paul and arranges for his arrest, his trial for white slavery, and a sentence of seven years in prison. Paul finds Philbrick still in charge of many things in the prison, Grimes turning up then escaping by horseback, Prendergast as the chaplain. After a series of, for him, ghastly experiences, Margot arranges with the Home Secretary for him to be taken to a clinic for an appendix operation – Dr Fagan now runs the clinic, Peter has arranged everything including the payment of an alcoholic doctor who signed all the documents including a death certificate.

Paul goes back to Oxford, meets the same dons who sent him down and begins a theology course.

The film captures the flavour of Evelyn Waugh and his style incorporating much of the verbal wit from the novel.

1. The popularity of Evelyn Waugh novels? His novels and style, writing and wit? The 1920s? England?

2. The recreation of this world? Oxford, the school, in Wales? Society, mansions, artists? White slavery, Marseille? Restaurants? The courts, prison, the hard labour and rocks? The clinic? The range of settings, costumes and decor, the musical score?

3. Evelyn Waugh’s perspective, realistic, satiric, the touch of the witty spoof? Hijinks but wit?

4. Paul Pennyfeather as an Everyman? His story? And the title of the story? Studying theology at Oxford, serious, conversation with his friend? His being set upon, stripped? The authorities – and their wanting high fines? The bullies? His being called to account, sent down? The irony of his later application, the interview, the judgements, his not resembling his alleged cousin? A new life? And his being static rather than dynamic?

5. The School, in Wales, the railways? Phillbrick at reception, a view of the school? Dr Fagan and his manner, his daughters and their attitudes, the range of students, the presence of Grimes, Prendergast? The teaching load, the boys claiming to be Tangent? The chalk and the varnish? His name? Having to improvise, music, sport? Arranging the Sports Day? The races, the heats, the prizes? The arrival of the parents, being social with them? Arranging the food? Tangent in the accident, gangrene, amputation and his death? Peter, Margot, her style, Latin American background, wealth, husbands? Suspicions about her? Her taking a shine to Paul? The invitation for him to come for the summer, his prospects?

6. Grimes, drinking, gossip, his background, the marriage, sexual attraction to the chauffeur? His behaviour, discussion about Flossie, the engagement, Dr Fagan very happy? Preparation for the wedding? The ceremony? Grimes and his disappearance? Prendergast, his religious scruple, religious language, role in the school? Philbrick and his presence around the school? His reputation, thief, the police coming?

7. Margot’s house, modern, the design, Otto and his presence, Germanic, his ideas, the design of the house, his art and sexuality? Paul teaching Peter, the tuition? Peter liking him and supporting him? Paul and his relationship with Margot? The sexual attraction? His prim manner, breaking down? The party, the organisation, his being used by Margot, allowing himself to be used, the range of guests and their attitudes, Humphrey and his arrogance, the food? Otto and the relationship with the society wife and Paul using the newspaper article to expose him? Otto giving the tour of the house? Paul being pressurised to play the piano – and his improvising a modernist piece? Margot absent from the party? The issue of marrying? Peter’s approval? Margot offering Paul the job? The interviews with the girls? His going to Marseille for the passports and getting the girls on the ship? His friend, taking notes, spying? Preparation for the wedding? And the encounter with Grimes and his going to Rio?

8. Paul, the preparation for the wedding, the bachelor dinner, the bully as the best man? The police arriving? His not taking them seriously? The arrest, going to court? His being found guilty? Prison, his possessions, meeting Philbrick again, hard labour with the rocks, Prendergast as the chaplain? Grimes turning up, arrested, bigamy? His wanting to escape – and his holding the horse, riding away, being shot at, the marsh – and his surviving? The warden, progressive, his ideas and discussions, ordering Paul to have walking conversations about arts with the killer? The killer and his religious mania? Playing chess, fear? The talk with Prendergast? The killer and his saw for the woodwork, sawing off of Prendergast’s head, it falling down the stairs?

9. Margot, visits, Peter and his visits, Paul expecting Margot to wait for him? The prospect of her marrying the Home Secretary? As a means of getting him out? His appendix, going to the
clinic, meeting Dr Fagan, the alcoholic doctor, all the certificates signed, including the death certificate? Paul able to have a new life?

10. The world of Evelyn Waugh and his satire, comic characters, spoofs, but elegant wit?