THE RUNAWAY BUS


UK, 1954, 78 minutes, Black-and-white.
Margaret Rutherford, Frankie Howerd, Petula Clark, George Coulouris, Toke Townley, Belinda Lee, Terence Alexander, Michael Gwynn, Stringer Davis, Reginald Beckwith.
Directed by Val Guest.

Frankie Howerd became a very popular comedian in film and television from the 1950s to his death in the early 1990s. Suffering from nervousness, he developed mannerisms of expression which became very distinctive for his comedy, from Roman slaves in Up Pompeii to participation in the Carry On series.

Here he is at the beginning of his career, his screen personality quite ready for the career.

The film makes jokes about London fog, especially with the broadcaster announcing the news and weather forecast. Heathrow is fogged in, planes unable to take off and land, passengers all caught in the lounge but demanding information about getting out. In the meantime, a robbery is planned to take place during the fog – and does.

Margaret Rutherford does one of her most obnoxious characters, fussy and demanding all kinds of attention, eventually getting a relief bus to take her and some other passengers to another airport where the fog might be lifting. Frankie Howerd is the relief bus driver – only later to find that he is driving for BOAC instead of BEA!

Petula Clark is the efficient airport official on the bus, Terence Alexander a suspicious air force captain, George Coyulouris is a suspicious businessman, Belinda Lee, at the beginning of her short career, as a glamorous young woman who has a passion for gory crime novels. Toke Townley is an unobtrusive arrival from South Africa.

Also in the cast is Margaret Rutherford’s husband, Stringer Davis, who often appeared in small roles in her films, this time as a transport official who is told that the bossy lady is causing trouble and he agrees that this is an emergency!

Blend of comedy and slapstick with serious undertones, the bus getting lost in the fog, arriving in a minefield at a military installation, complications when the audience wonder which of the two men is the criminal, the Banker, responsible for the robbery – only to be very surprised at who the Banker is at the end of the film!

1. A British comedy, 1950s style? Brief, black and white photography, comic and serious, the British cast? Character actors?

2. The situation, the jokes about British fog, the radio announcer and the predictions? The thick fog, closing down of the airport, the planning of the robbery during the fog and its execution, the stranded passengers, causing difficulties, queues, buses, relief drivers, transport office, security, companies and reception desks? Comedy but audiences identifying with the situations? the musical score?

3. The background of the robbery, the discovery of those tied up, drilling through the wall, the use of the bus for the bullion?

4. Miss Beeston, the Margaret Rutherford type, fussy, bossing everybody about, going to the head of the queue, making the audience dislike her? Demanding the bus, on the bus, with the little man from South Africa, sitting with him, his reading from the seedlings catalogue, her liking him? Her statements about positive thought? The treatment of everyone else on the bus?

5. Frankie Howard as Percy Lamb, his distinctive comedy, his dithering style, the pratfalls and slapstick? His verbal expressions, shock and oohing? The substitute bus driver, the phone call to his grandmother and the comic interchange, spending the sixpence, the collector and his wanting the refund, procedure to get the refund? Lost in the fog, into the security room, in and out the window, lost in the fog, finding the bus? With Miss Nichols? With the passengers? The driving of the bus, in the fog, the little man getting out to lead, the pilot suddenly arriving, the girl from Basingstoke and her glamour, the businessman? The driving, lost in the fog, lost destination, his standing in the water, the setting off of the mines?

6. Petula Clark as Miss Nichols, practical, common-sensed, trying to work aware out where they were, the mileage and the information to the police? The captain flirting with her? Her suspicions of Percy, the wrong name? The irony of his driving the wrong bus?

7. The girl from Basingstoke, glamour, quoting all the murder mysteries?

8. The businessman, the information about his brother, the phone number, being searched? His having the gun? His knowledge of High Wycombe and the mines and the use for the military?

9. The authorities, discovering what happened, contacting the bus, working out where the bus was?

10. The man in the back of the bus, tied up, his escaping?

11. In the inn, making the coffee, the suspicions? The pratfalls? Miss Beeston and her fainting?

12. Audience suspicions of the businessman, the captain? The irony that they were with the police as well as the man in the back of the bus? The captain and his decoration on wrongly, the mutual suspicions?

13. Could the audiences have suspected Miss Beeston as the banker, her sudden taking control, the little man being her ally? Percy Lamb and Miss Nichols engineering the projectile? Overcoming Miss Beeston?

14. And the girl from Basingstoke and Percy writing down her number – and ringing his grandmother?

DUNKIRK

UK, 1958, 134 minutes, Black-and-white.
John Mills, Richard Attenborough, Bernard Lee, Robert Urquhart, Sean Barrett, Meredith Edwards, Michael Bates, Eddie Byrne, Lionel Jeffries, William Squire.
Directed by Leslie Norman.

Dunkirk was a significant film of the late 1950s. During the 1950s there were many war films produced in the UK, the opportunity to remember many of the battles, the prisoners of war, prisoner of war escapes. The film is also a tribute to those who showed heroism in action.

This film has the focus of three stories which interconnect.

John Mills, standard for so many films from England in these decades, portrays Tubby, an ordinary soldier seen in London at the newsreels, listening to Flanagan and Allen singing the Siegfried Line, part of a squad, then seen at war in France, having to get out of the foxholes to escape, moving towards the beach, in a homestead and attacked by Germans and having to leave one of their men, finally on the beach at Dunkirk waiting to be rescued.

Bernard Lee is a journalist, Charles Foreman, at press conferences listening to the official comments about the war and its progress as well as the blacking out of information. He is married, discusses the issue with his wife as well as with a young man who owns a factory to make buckles. He has a boat and volunteers the boat for the rescue effort and requests to go on the effort himself.

Richard Attenborough is the young man, the buckle factory, young wife and baby, seeming to be comfortable back at home, talking about the phony war in the pub, attacked by a sailor veteran, with a boat and initially unwilling to go but finally sailing to Dunkirk.

The recreation of the soldiers on the beach at Dunkirk, the boats arriving, the rescues are vividly done, especially for the status of cinema and effects in 1958. There was a fine recreation of the beach at Dunkirk in the long tracking shot in the 2007 Atonement. However, 2017 brought Christopher Nolan’s picture of Dunkirk. His scenes of the soldiers on the beach and on the Mole do resemble those of the 1958 film but are very effective in their way, filmed in 70 mm, available for IMAX screening. Christopher Nolan’s film of the rescue focuses on one boat and his experiences. There is also a focus on the RAF and the combating of the German air force.

This film was directed by Leslie Norman at the same time that he was directing The Shiralee and before his Season of Passion/ Summer of the 17th Doll, Australian stories.

1. The British war films of the 1950s? This film’s place amongst them? Memories of the war experience? The tribute to those who served, military and civilian?

2. The insertion of newsreel footage of the times?

3. The event itself, 1940, battles in France and Belgium, the advance of the Germans, the Maginot line, the British beaten back to the beaches? Audience knowledge of the events? British memory, World War II memory? The memory of Churchill?

4. The black-and-white photography, Belgium and France, the foxholes, the fields, the towns, streets, the homesteads? Dunkirk, the town? The beach? The sea? Britain, the military officers, the pubs, the factories? The musical score?

5. The three stories, London and the official story with Charles Foreman? The war effort and Tubby and the ordinary soldiers? The factories and supplies and ordinary life? The interconnecting of the stories?

6. Tubby, John Mills and his status in British films, his company? Ordinary, in London, the newsreel, the progress of the war, the cartoons against Hitler, Flanagan and Allen and Siegfried Line? The soldiers in action, the holes, in the fields, the escape, on the roads? The Germans, the pursuit? The farm, the attack? The shooting? The bond between the men, Tubby having the stripes, giving the orders? Mike, his friendship with Toby? Dave, being injured, his death and being left? Their going to the beach, the lift in the truck?

7. Charles Foreman, the journalist, at the press conferences, his questions, the official answers, his exasperation, the futility of the war, lack of preparation, in the pub, with his wife, the discussions with Holden, the wounded sailor and his outburst, the discussions about the progress of the war, the failures? Going to meetings, the appeal for his boat, going?

8. Holden, Richard Attenborough, his wife, the new baby? His company, building the buckles, Frank and his expertise, the women, listening to the radio broadcasts of Lord Haw-Haw? In the pub, his talking about the phony war, the reaction of the sailor, wanting to fight, the sailor losing his fingers? His apology? At home, trying to put the gas mask on the baby? His boat, underestimating the size, his backing out, finally going?

9. The visuals of the rescue, the work of the officials, the appeal to the Navy for destroyers? The decisions? The bombing and strafing of the men on the beach, of the boats? The numbers of men?

10. The beach at Dunkirk, the orderly men, the thousands, going into the sea, getting into some of the boats? The prayer session on the beach, the Lord’s prayer, the bombings, the deaths?

11. The boat owners, the appeal, the discussion with the official, his getting permission to go, their being under orders, sailing in the morning, their fears? Charles and his boat being hit? On the beach with Frank, the Lord’s prayer, his death? Holden’s boat, Mike and the engine, Toby and his men, Frank, his grief about Charles’ death? The rescue?

12. The return, the response of the public, the assessment about the failure of the battles in France, the French generals and their decisions, the Belgians, the return of the British for the Battle of Britain and the defence against any German invasion?

THE OMEGA CODE

US, 1999, 100 minutes, Colour.
Casper van Dein, Catherine Oxenberg, Michael York, Michael Ironside, Jan Triska, Gregory Wagrowski, William Hootkins, George Coe.
Directed by Robert Marcarelli.

Made in 1999 at the time of millennium speculation (and some fears), this is a product of a particular type of American Fundamentalist Christianity. It was popular amongst Christians who interpret the Scriptures not only literally, but as being fulfilled in their own times. Since the 19th century, there has been a strong tendency (especially in the United States) to expect the second coming of Christ to take place imminently - and this expectation has been always frustrated.

The Omega Code is a fiction that claims that scholars have been trying to piece together remnants of old prophecies and that whoever has the key to the prophecies will control the world. Clearly, this is an open invitation to potential Antichrists (who take the form of externally charming gentleman who have great wealth, corporate influence and have political ambitions which, when fulfilled, mean that they will rule the world). In our media age, the hero or heroine who is to confront the antichrist is often a reporter.

The films usually have exotic sequences where scholars unravel arcane secrets, where apostate villains do violent dirty work for the aspiring antichrist and where there is an apocalyptic conflagration which brings to an end the reign of the usurper.

If films like The Omega Code stayed on the level of such end-of-the world religious fictions like the Arnold Schwarzenegger epic, End of Days, which was released at the same time, they would simply be far-fetched entertainments. However, the makers want to communicate to audiences that these scenarios are biblically based and could be true.

Caspar Van Diehn is the rather unlikely scholar hero who, with the help of the media's Catherine Oxenburg, has to vanquish a sinister ex-priest played with his usual villainous relish by Michael Ironside and then confront the Antichrist, this time in the form of Michael York.

All in all, films like The Omega Code offer preposterous entertainment that begs to be taken literally but should not.

There was a sequel, Megiddo, in the 2002, directed by Brian Trenchard Smith.

Then came the Left Behind series.

FACE DOWN/ TETE BAISSEE

France/Bulgaria, 2015, 110 minutes, Colour.
Melvil Poupaud, Seher Nebieva, Lidia Koleva.
Directed by Kamen Kalev.


Face Down is a story about contemporary criminals, especially in Europe, and especially in Eastern Europe.

Melvil Poupaud portrays Samy, a young criminal, caught with counterfeit money, doing a deal with the police to help them uncover prostitution rings. Reluctantly, he agrees.

The film shows him at work, the connections in Bulgaria, the prostitutes, their being recruited, especially amongst Gypsy women. There are some personal stories, especially as regards Samy and his concern for an affection for a young girl prostitute.

This is a rather grim film reflecting contemporary ugliness and vice.


1. The title? Criminal world? Sexual activity?

2. The French locations, the Bulgarian locations? The world of criminals? Prostitution? Gypsies? The musical score?

3. The focus on Samy, his story? French, the counterfeit money, his role in carrying it, the bags, the airport, his taking his bag, held up by the police, the interrogations? The deals?

4. Prostitution, Eastern Europe? Bulgaria? The Gypsy women? Their ages, characters, the men, pimps, clients?

5. Samy, undercover, going into Bulgaria, making the links, the criminal gangs? Their personalities, connections, activities, brutality?

6. Samy and the women, the young prostitute, 16, his relationship with her? Illness? Wanting to save her?

7. The complex behaviour of the women, caught in prostitution, their behaviour, their attitudes, the clients? The experience of sex and following it through? Revulsion?

8. The complications for Samy, with the young girl, with the other women, the resolution of the film? His character and future?

EGON SCHIELE, DEATH AND THE MAIDEN

Austria, 2016, 110 minutes, Colour.
Noah Saavedra, Maresi Riegner, Valerie Pachner.
Directed by Dieter Berner.


Egon Schiele, 1890-1918, was an Austrian artist, protégée of the artist Gustave Klimt, influential in his lifetime, with artistic and financial success with his exhibition in 1917, dying early but, as the end of the film notes, very successful in the art world and painting sales in succeeding decades.

The film is a portrait with touches of biography. The focus is on the young man, with a talent, sketching, painting, always with an eye on women, his painting of nudes, the women posing and his relationships with them. He is helped by his younger sister Gerti who also serves as a model – and there are some innuendos about Egon’s relationship with his sister. (She is in love with one of his associates, Anton, becoming pregnant, wanting to marry, Egon refusing as her guardian, but her eventually marrying.)

The film recreates the atmosphere of the early 20th century at the end of the Austro- Hungarian empire (with a comment that the Emperor disapproved of Egon Schiele’s paintings). There is a picture of life in Vienna at the period, in artist studios, in the world of models, but also in the courts where Schiele is accused of misconduct with a minor, is not guilty but is confined because of the subject of his paintings.

A lot of the time he lives in the countryside, painting, the touch of the lyrical.

However, at the outbreak of World War I, he is called up, examined, sent to Prague for artwork during the war.

The film focuses on several of his relationships, especially with Wally, a model with whom he lives but with whom he eventually falls out because of his relationship with two sisters, one of whom he marries.

He becomes ill in 1918 and dies at the age of 28.

1. Portrait of an artist? Austrian? Early 20th century? Biography?

2. The period, costumes and decor, Vienna in 1910, the following years, World War I? The city, the streets, the clubs? Apartments and studios? The countryside, the houses, the lyrical aspects of the period? The musical score?

3. Audience knowledge of the artist? His reputation in his time, they are Gustave Klimt and the scene with him, successful, issues of censorship, criminal hearings? Subsequent success? Contemporary value?

4. The opening, Surrealism, faces, agony, death?

5. The portrait of the artist, his age, his talent, drawing, sketching, painting? His mother and the relationship? With Gerti? Young, as his model, the affection between the two? The range of women, his models, his attitude towards them? His visiting the club, the nude tableau, the models, his connection with Moa, her relationship with him, posing, ambitions, relying on him? The further connections with women? With Wally, the bonding with her, as a model, as a partner, his reliance on her? The meeting with Edith and Adele? With the 16-year-old? The accusations, in court, her being a virgin, his being acquitted but still prosecuted for the subject and treatment of his paintings?

6. Egon, character, carefree, his art, taking every opportunity? His friends, forming the club? His falling out with them? Anton, friendship, relationship with Gerti, Egon not giving her permission to marry, her pregnancy? His being her guardian after the uncle abandoned them, refusing money? The eventual wedding, the celebration, his mother, the dancing?

7. Egon, time passing, the countryside, his work, preparing for his exhibition?

8. The prospect of war, his stances, his going to the physical examination, his going to Prague, Wally and her hesitations?

9. Egon, his health, the death of Edith? His mother and her control? Gerti and her support? The various episodes in getting quinine and having to pawn jewellery?

10. Egon, his final illness, his mother, Gertie and the necklace, quinine, too late?

11. A young man, his artistic achievement, reputation – and posthumous success?

THE TOUCH

China/Hong Kong, 2002, 103 minutes, Colour.
Michelle Yeoh, Ben Chaplin, Richard Roxburgh, Brandon Chang, Margaret Wang, Dane Cook, Kenneth Tsang,, Winston Chao.
Directed by Directed by Peter Paul.

After the success of Crouching Dragon, Hidden Tiger, western audiences have been looking forward to another classic martial arts/mythical story. Michelle Yeoh has now co-produced, co-authored and stars in The Touch. Unfortunately, it will not fulfil the expectations. There are some opening acrobatics that will stir some hopes and there is a fifteen minute sequence towards the end of the film in a firelit cavern which has some wonderful flying and fighting moments. But, in between, apart from some attractive photography of some different Chinese and Tibetan locations, there is a rather pedestrian story of a powerful criminal gaining possession of an emblem which could unlock a long-hidden spirit and unleash it on the world for good or evil.

Michelle Yeoh herself is adept at combat action and brings some dignity to her role. The ambiguous hero is played by British Ben Chaplin and the villain is over-acted by Australian, Richard Roxburgh. After playing a South African nasty in Mission Impossible 2 and the Duke in Moulin Rouge, he sneers and snarls here as if he were auditioning for a parody of a Bond villain. Some of the dialogue is dramatically flat and some of the humour is deadpan (long dead). We will have to wait for another more special Chinese epic.

1. The impact of crouching Crouching Tiger, Hidden Dragon and the many Chinese films like this at the period?

2. The popularity of martial arts? As displayed in this film? Choreography, acrobatics, special effects? Stunt work?

3. Filming in Nepal, China, the mountains, the desert? The world of the acrobats? The action sequences? The musical score?

4. The family, the long tradition, their performances, the secret, the relic, a treasure, the spirit of the holy man? The secret jump to retrieve it?

5. The kidnapping, the brother and his girlfriend? Karl, the ruthless villain, his arrogant style, the touch of a parody? Wanting the treasure? The pursuit?

6. The presence of Michelle Yeoh, Pack YIn, part of the family? Her relationship with Eric, his past, the thief? The bond between the two? Going on the mission?

7. The desert, the legends for the burial, the search in the desert, the conflicts?

8. The personal and dramatic interactions?

9. The climax, the temple, the booby-traps, action and explosions?

THE GIRL FROM PARIS/ UNE HIRONDELLE A FAIT LE PRINTEMPS

France, 2001, 103 minutes, Colour.
Mathilde Seigner, Michel Serrault, Jean- Paul Roussilon.
Directed by Christian Carion.

The Girl From Paris is an attractive psychological portrait of a young woman who leaves her job working for an Internet company and goes to work as a farmer in the Southern Alps, as well as a portrait of an ageing farmer who takes her in as his apprentice. The film is strong because of the performance of Mathilde Seigner as the young woman and veteran Michelle Serrault (Dr Popaul as well as the Cage au Folles films). The film was written by Christan Carrion who also directed it. He is the son of parents who are farmers and also studied at the Department of Agriculture. He writes this portrait of people working on a farm with conviction.

The film shows the interaction between the young woman and the old man, friendship, suspicion, animosity. When the old man suffers a mild heart attack, he wants the young woman to take over. They become friends. However, the work is too hard and the young woman decides to return home to Paris, to her family and her boyfriend. It looks as though she will not come back

The film is in the French tradition of understated character portraits. It has the advantage, not only of the performances, but of interesting Paris locations and beautiful alpine scenery.

The director went on to have great success with Joyeaux Noel and Farewell.

1. The film designed for French audiences? The delighted response? The impact for the world audience?

2. The English title and its being prosaic? The French title, the swallow and the making of a spring – or not?

3. The work of the director, his subsequent career and success?

4. The city of Paris, homes, workplaces, computer instruction? The world of study and universities?

5. The contrast with the French countryside, the Alps and the Rhône, the farm, the barn and the accommodation? The goats and the cheese? The animals, treatment of the animals,
animal slaughter? The seasons? The musical score?

6. Sandrine in herself, her success with her work, instructing the students, the change of heart, studying farming, her success?

7. Adrien, the old man, his farm, during World War II, selling, but wanting to stay, the memories of his wife and her death, of the Nazis and the destruction of the farm, the mad cow disease and the repercussions? His character, remaining, wary of Sandrine? His interfering with the electricity – but ultimately wanting companionship?

8. Jean, selling his farm, his car, Pharaoh, his dog? Driving around, interest in Sandrine? Warning her about Adrien and the farm?

9. The experiences on the farm? The winter harshness, Adrien and Sandrine together? The visit to Paris, giving the classes, meeting Gerard, the past relationship, the temptation to stay?

10. The return, her skills and the prospect for her future and success?

DANCING AT THE BLUE IGUANA

US, 2001, 123 minutes, Colour.
Daryl Hannah, Sheila Kelley, Sandra Oh, Jennifer Tilley, Charlotte Ayanna, Kristin Bauer van Straten, Elias Koteas, Robert Wisdom.
Directed by Michael Radford.

Dancing at the Blue Iguana sounds more exciting than the film actually is. It is the work of British director Michael Radford working in Hollywood. He had made such films as White Mischief in Kenya and The Postman in Italy, even getting Oscar nominations for the latter film. However, this time he has gone to the United States and working with a group of actors in a four-months improvisation seminar, has produced a script which still seems the work of a seminar rather than a revised screenplay which is worth producing and filming.

Radford certainly has a top cast, amongst whom are Daryl Hannah, Elias Koteas, Sandra Oh, Jennifer Tilley. The central focus is the club, The Blue Iguana, a stripjoint, and the five dancers who work there. One of the problems with the dancers is that they represent all the aspects that might be expected of such woman, drug addict, alcoholic, self-destructive women, victim of incest, immature women. One, Sandra Oh, is also a closet poet and goes to poetry readings and impresses the audience with the quality of her work. This is probably the most forceful of the characterisations. Those who run the club are also what we might expect, tough and unscrupulous, the doe-eyed young admirer, and, perhaps inexplicably, a Russian hitman.

The film was also made in experimental style, which makes it something of a strain to watch, let alone listen to and observe the characters. It is prolonged in its presentation where some prudent editing would have sharpened the performances as well as the interactions.

While watching the film, one is interested in the characters and what they are going to reveal about themselves. However, it ultimately does not amount to much more than one would have expected. The stand-out performance is by Jennifer Tilley, an actress who is eccentric in her style and has an often irritating baby voice. This time she is given the opportunity to develop a character and make an impression.

1. The title? The Blue Iguana? The striptease joint? And the portrait of the women? The manager?

2. The women, the range, dancing and striptease?

3. The title, the location, the interiors and exteriors? The performances? The girls, nudity, music and dance, pole dancing? The response of the variety of clients? The musical score?

4. The director, Michael Radford, his background, career, the varieties of films made? His work with the cast, weeks of improvisation and their creating their characters? Creating the dialogue?

5. Eddie, the manager, type, the organisation? Interactions with each of the girls? The young man? the Russians?

6. The world of showgirls, public life, performance? Behind-the-scenes? Characters?

7. Stormy, young, a secret, her relationship with her brother?

8. Jo, pregnancy, possibility for abortion?

9. Jesse, Hollywood ambitions?

10. Angel, her name, naive, her arrest?

11. Nico, the professional dancer, in comparison with the others?

12. Jasmine, poet, the quality of her poems, her relationship with Dennis, attending the readings, her hopes, publication? His visit to the club? Seeing the reality of Jasmine’s work, his repulsion, leaving?

13. The cross-section of women, their lives, their problems? A sad portrait?

IMPOSTOR

US, 2001, 95 minutes, Colour.
Gary's Sinise, Madeleine Stowe, Vincent D 'Onofrio, Tony Shalhoub, Tim Guinee, Mekhi Pfifer, Lindsay Crouse, Elizabeth Pena.
Directed by Gary Fleder.

Impostor was originally intended to be one-third of an anthology film, The Light Years Trilogy. When the project was abandoned, this film was expanded to a longer running-time and released as a feature film.

Gary Fleder, the director of such thrillers as Things To Do In Denver When You're Dead and Don't Say a Word, creates the atmosphere of Earth at the end of the 21st century. There is war in the galaxies. There are weapons experts and security agent. However, the issue of identity is to the fore in this film (and the title). The issues are the same as in Philip K. Dick's other story, Do Androids Dream of Electric Sheep, which was the basis for Bladerunner. The characters do not know whether they are fully human or whether they are replicants.

Gary Sinise is the central character, unsure of his identity, having difficulty in relating to his wife played by Madeleine Stowe, and his superior played by Vincent D' Onofrio. The plot is quite complex as theories are given and visuals are produced to show how replicants can take over human beings, with the result that the hero does not know really who he is. A similar use was made of replicants and clones in the Arnold Schwarzenegger thriller, The Sixth Day.

Critics were very harsh on Impostor, criticising it for not having the status of Blade Runner and Minority Report which was released at the same time. However, devotees of Philip Dick's science fiction praised the film and considered its modesty as a virtue and suggested that it remained close to the literary style, characters, themes and issues of Dick's literature.



1. The popularity of the novels, stories and film versions of Philip K. Dick?

2. Science fiction, science fantasy? The world of 2079?

3. The locations, for Earth, homes, countryside? Administration and offices? Space vehicles? The musical score?

4. The reality of Alpha Centauri, the previous invasion, the defence shields, humans never having seen the aliens from the planet? The strict government control?

5. The title, the focus on Spencer, his work designing weapons, his home life, his relationship with Maya? His arrest? Being accused of being a replicant? The code, the mission to assassinate the Chancellor?

6. The nature of replicants? The U-bomb in their chest? The scans and the igniting of the bombs? Destruction in the immediate vicinity of the replicant?

7. Hathaway, his role with the government, the interviews and interrogations? Spencer’s escape? The work with Nelson, friendship, Nelson’s death?

8. The role of Cale, stalker, helping? Surviving? His puzzle?

9. The hospital, Maya working there, Spencer going for the re-scan? The Armed Forces and the attack? Taking Spencer and may?

10. In the forest, their vehicle the crash, the location for past weekends for the couple? The discovery of the corpse of the real Maya? Further discovery of Spencer’s corpse? Hathaway
shooting Spencer?

11. The discovery by Hathaway that he was a replicant? The explosion and destruction?

12. The government announcement, covering up of the events?

IVAN'S XTC

UK, US, 2002, 93 minutes, Colour.
Danny Houston, Peter Weller, Lisa Enos, James Merendino.
Directed by Bernard Rose.

Ivan's XTC is a Hollywood film with a difference. However, one can look back to such grim films as Sunset Boulevard and The Bad and the Beautiful as well as more contemporary films like Mulholland Drive. The film was directed by Bernard Rose, who had directed Immortal Beloved and was dissatisfied with the experience of making his version of Anna Karenina with Sean Bean and Sophie Marceau. He uses a Tolstoy story again as the basis of his film, the death of Ivan Ilyich. From Russia to Los Angeles with grim parallels.

Ivan is a whiz-kid producer but, at the opening of the film, we know that he is dying of cancer. With the flashbacks, the audience sees the rise and fall of Ivan, his life in the fast lane, especially with drugs, with his relationship with his girlfriend Charlotte, with the egotistical actors and with the producers. It is a typical picture of disillusionment with Hollywood and the struggle of egos.

Danny Huston, son of John Huston and director of such films as Mr North, portrays Ivan with zest and with pathos, especially in his inevitable journey towards death. Peter Weller is the egotistical actor. Lisa Enos, who co-wrote the screenplay with Bernard Rose, is Ivan's girlfriend.

The film was made with a very small budget, with high-definition video cameras. This gives the film a grainy look, the difficulty for audience is that they have to peer often at what is going on. Comparisons could be made with the work of Mike Figgis, especially Time Code and Hotel (with the multi-screen images) and the use of video camera in order to get more flexible performances, a range of different shots and more versatility in editing.

The film is particularly bleak, as was Tolstoy's original novel, a grim comment on life in the fast lane in contemporary western affluent society.

1. Personal drama, Hollywood drama, dark drama?

2. The screenplay as an adapted adaptation of Tolstoy’s The Death of Ivan Ilyich? The effectiveness of the transfer to the US, the 20th-century, Hollywood?

3. Audience familiarity with Hollywood itself, the locations, studios, offices, socials? Agents, the movies? The musical score?

4. The opening, the illness and death of Ivan? The flashbacks? In the context of Ivan’s death?

5. The title, Ivan, Danny Houston, strong screen presence? His character, his age, the cancer, his wasting away, drugs, prospects for his life – and any discovery of meaning for his life?

6. The Hollywood trappings, the movie personnel? Produces, actors, agents? The women? The world of drugs, alcohol, womanising?

7. Ivan, his reflection on his life, not finding any meaning in it?

8. Don West, Peter Weller, the star, reputation and career, character, arrogant? His behaviour at the funeral?

9. The meaning of Ivan’s life and death? The picture of moral bankruptcy, audience response?