BLONDE ICE

US, 1948, 68 minutes, Black and white.
Leslie Brooks, Robert Paige, Russ Vinson, Michael Whalen, James Griffiths.
Directed by Jack Bernhard.

Blind Ice is one of those psychological dramas that has to be seen to be believed. Leslie Brooks plays a society reporter who is involved in a number of marriages, instantly unfaithful to the current husband, provoking suspicions.

She is a pathological liar, involved in quite a complicated murder situation, also in blackmail.

Even when she is exposed as a liar and fraud, she brazens everything out, continuing writing her columns.

But, femme fatale that she is, she gets her comeuppance.

The film is directed by Jack Bernhard who made 11 supporting features from 1946 to 1950.

1. A film of the late 1940s? Film noir? Evil in control? Portrait of a psychopath?

2. Black-and-white photography, San Francisco, Mexican sequences? The wedding, the honeymoon, the newspaper, the world politics, business, socials? The musical score?

3. The title and Claire and her personality and action?

4. The portrait of a psychopath, emotionally, no conscience? At the wedding, her three former boyfriends, the kiss with Les, her husband seeing it, her protest, going on the honeymoon, her husband discovering her letters and her lies? Announcing the divorce? The secret flight, payment, the later blackmail from the pilot, his discovery of her identity, confrontation, her killing him? Her going to San Francisco, killing her husband, returning, phoning Les, his meeting at the airport, the finding of the body? The role of the police, Les a suspect? Claire and her love for Les? The meals with him, the restaurants? The other journalists and their interests? Her not having any grief, asking for a job again, going to work, society reporter? Wanting to meet Stanley, asking him to be her lawyer, flirting, helping with the campaign? The doctor warning about her psychological condition? Her intention to marry, the announcement, the doctor’s intervention, no wedding, her stabbing Stanley? Going back to work, writing the article, the confession, the gun, the struggle and her death?

5. Les, journalist, successful, love for Claire, being used by him? His work and his secretary? The boss? The police and the interrogations?

6. The other journalists, contributing to the investigation? The newspaper boss? The police? The secretary and her devotion to Les?

7. The doctor, psychologist, warning Claire about her personality and her motivations? His intervention to prevent Stanley marrying her?

8. A film noir, femme fatale, personification of evil?

THE REHEARSAL

New Zealand, 2016, 100 minutes, Colour.
James Rolleston, Kerry Fox, Ella Edward, Alice Englert, Kieran Charnock.
Directed by Alison Maclean.

The Rehearsal is a very interesting New Zealand drama. It was directed by Alison Maclean, the Canadian director who has worked mainly in American television but made the arresting Jesus’ Son in 1999. With this film, she has come to New Zealand and worked with a strong New Zealand cast led by James Rolleston (Boy, The Dark, Horse, The Dead Lands, Pork High) and veteran and international star, Kerry Fox. Jane Campion’s daughter, Alice Englert is in the supporting cast.

The film centres on Stanley, a young Maori lad from a country town, who comes to the city for an audition for drama school. He is played by James Rolleston, initially rather quiet, affected by the pressures of drama school, especially the lecturer played by Kerry Fox, meeting a young girl and becoming involved with her and her family.

The film has captions for the various months of the year in which the action takes place. He becomes part of a special group at drama school, especially befriending a young man who invites him in as one of the flatmates. He is highly strung, is taunted by the teachers – and later kills himself.

The group also has to find a drama which they can prepare for their assessment at the end of the year and they decide on a scandal, a tennis coach who has had sex with an underage girl – the sister of the girl that Stanley is going out with.

All kinds of complications for Stanley, for the group in the preparation of the drama and their going beyond bounds, for the girl herself who seems still infatuated with the tennis coach, his rather cavalier attitude, and the upset of the girl’s parents.

In the meantime, Kerry Fox’s lecturer is putting pressure on Stanley, urging him to greater things, but also involved in the building of a new theatre.

Interesting characters, situations.

1. A New Zealand story, its tone and characters? Yet a universal story?

2. New Zealand, the city, the Institute, the interiors, classrooms, the theatre? Flats and apartments? The tennis scenes? The musical score?

3. The title, the importance of acting, practising, drama, the group rehearsing, career choices? The tennis story, the devising of the play about the tennis and the abuse, the rehearsals, the implications, not performing it?

4. The structure of the film, the focus on Stanley, coming to the city, audition and training? The captions with the months?

5. Stanley’s story, at 18, from the country town, the close-knit community, his Maori background, wanting to be free? The application, the staff looking at the photos, seeing him as innocent and virginal? On the bus, the encounter with Isolde? The interview, Hannah and her strong words, the touch of harshness? The rehearsals, his performance, her taunting him, his lack of feeling and expression? The range of the classes over the months? The interactions with the students? Getting the flat? William and his friend? Talking and sharing?

6. Meeting Isolde, exchanging phone numbers, the texting?

7. Isolde’s sister, her story, at the tennis, her tennis skills, the coach, Isolde seeing her in the sexual encounter? The prosecution, the coach, his background, married, sex offences? The effect on the sister, the parents and their hardness, the family gathering at meals? The headlines in the media? The difficult situation for the family? The prosecution of the coach? The later port sequences, acknowledging the truth, the effect on his victim?

8. The actors, the groups, having to make decisions, William and his suggestion about taking the audience’s phones, bussing them out and their getting the lost? The reactions, the eventual choice of the tennis scenario? The group, the outings, in the hills?

9. Stanley, the development of his personality, progress? Interactions with Hannah, hard yet sympathetic? The variety of rehearsals, performance?

10. The character of Hannah, with the students, her harsh tone, yet her interest? Her ambitions about the theatre? The final decisions, the meeting, the students not being consulted, the drama teacher and her outburst and walking out?

11. William, the student and his girlfriend? Intimacy? The sessions to portray intimacy, the big girl and her sad story and people moved, William and his personal story about his family, not wanting to be intimate with the group, Hannah’s attack on him? His medication? Hannah announcing the sadness of his death? The funeral?

12. Stanley and Isolde, Hannah and her warning about this friendship, his age, her being underage, the intimacy, the social meetings, with William, the party at the home, the sister, her wanting a phone call, using Stanley for the phone call, Isolde visiting the studio, the news of the play about the tennis, her being upset?

13. Stanley, the range of rehearsals for the drama, the Asian girl and hitting the tennis ball? The contrast with Stanley and the tennis matches in reality? Isolde’s reaction? Stanley and his wanting to stop the play, going to see the parents?

14. Telling Hannah? The event, Hannah and her plans for the big new theatre? Her wanting opportunities for Stanley?

15. The performance, the group sitting in the audience, those on stage, opening the curtain, the various people going through the curtain, to the unknown, Isolde and her going through, Stanley following, Hannah watching?

QUILL/ QUILL: THE LIFE OF A GUIDE DOG

And, 2004, 100 minutes, Colour.
Directed by Yoichi Sai.

Here is a film for dog-lovers.

This is a Japanese production, taking its audience into Japanese life, into the world of dogs and humans, the birth of the dogs, their being taken away for training, the selection of dogs for special training to be guide dogs, the time spent with the client who needs the guide dog, each getting to know the other, the family accepting the dog…

So, all fairly straightforward, sympathetic adults, some mischievous children in the family of the client who needs the dog, but Quill, named because of a birthmark on his body, shows what a good and faithful dog can be and how, finally, he returns to the original trainers for a happy old age and retirement.

1. A film for the popular audience? For dog-lovers? For lovers of pets? Interest in Guide Dogs?

2. A Japanese story, Japanese atmosphere? The universal story?

3. The variety of locations, the woman and the birth of the dog, the one-year training with the couple, going to train as a Guide Dog, with the family of the blind man? And the return to the couple at the end? The musical score?

4. The portrait of the dog, the birth of so many pups, the woman choosing the pup for training, his being tested, sense of independence? The birthmark and the name of Quill? The year of training, becoming familiar with the couple, playing with the bear? The time of training, as a guide, learning to obey orders, with the teacher? With the client, the training of the client to use the dog? The family, the wife and her wariness, the boy and his mischief? His working with his client? The boy, the trouble, lost, returned? His going to the couple, his age, death?

5. The portrait of the humans, the woman and her care for the pups, the couple and their warmth, the chief trainer and his discipline, care for dogs, the client, his needs, the experience of the training, learning to work with the dog, his risks on the road, his family? Ordinary people and their way of life? Handicapped people?

6. Audiences responding to the dog, its life, its work with the client, skill as a guide dog, the warmth of the dogs? Humans’ best friend?

MY PET DINOSAUR

Australia, 2017, 90 minutes, Colour.
Jordan Dulieu, Beth Champion, Stephen Davis, Sam Winspear- Schillings, Tiriel Mora, Rowland Holmes, Darius Williams, Christopher Gabardi, Harrison Saunders, Annabel Wolfe, Joanne Samuel.
Directed by Matt Drummond.

It might be quite a surprise for an audience coming to this film without any background to discover that, while the story is American, it is actually an Australian film with locations at Wentworth Falls in New South Wales along with an Australian cast.

The director, Matt Drummond, has a particular interest, it would seem, in dinosaurs and prehistoric beasts, having made a number of documentaries about megabeasts, Prehistoric New York, as well as a feature film, children’s adventure, Dinosaur Island.

The film focuses on a young lad, Jake, a lively performance from Jordan Dulieu. His scientist father has died and Jake has many sad memories as well as a book from his father about science. His mother works in the hospital, has begun to date the local policeman, to the anger of Jake’s older brother who is prone to cause mischief around town. There is also a group of Jake’s friends, some more than a touch nerdy, and one with his own amateur television station.

Strange things have happened around town. The Army has come in, with a very stern commander, with a well-protected headquarters and his throwing his weight around. Another scientist comes to town for an investigation, bringing with him his daughter, living just across the street from Jake and his family.

Jake discovers a small creature which he keeps quietly in his room – only for it to increase in size very very rapidly. While Jake sees it as a pet, he also sees it as a science experiment, sharing it with the young girl but his group of friends soon intruding. Which leads to some mayhem with the dinosaur, with the Army, with the scientist being taken into custody by the Army.

Which, of course, leads to the youngsters mounting their own expedition against the Army and to rescue the dinosaur.

A lively adventure for younger audiences, both for boys and four girls.

1. An Australian film – an American story? Australian locations and production values?

2. The title, expectations? Family film, children’s audience, adult audiences?

3. The American town, the geographical background, homes in the street, school, the surrounding countryside, the warehouses, the military? The musical score?

4. Jake, his age, his father’s death, the mysterious background, his love of science, bequeathing that to Jake, the book? His relationship with Mike? Mike, troublesome, at school, the graffiti, the police? Jake and his friends, the new girl across the street, sharing with her at school, at home, about the dinosaur? His experiences with the creature and its growth?

5. Jake and his mother, as a nurse, the death of her husband? The policeman and his attentions, the dates and the dinner? Mike’s negative reaction? Jake coping?

6. The scientific background, the alien material, colour, chemicals, transformation? Rapid growth? Jake and his proprietary rights, giving it a name, caring for it?

7. Abby, her father and his research, seeing him in the field, collecting samples? Examination of the samples?

8. The military, the tough commander, on behalf of the government, the soldiers and his associates, the vehicles, the helicopters? Harsh stances, dominating and threatening?

9. The creature, growth, Jake caring, Abby discovering the creature, its continual increase? His friends, bravado, shock? The friends, their characters, the boy with his television network?
The boy continually hungry?

10. The creature, going into the garage, growing too big, breaking out? The discovery of other creatures?

11. The buildup to the climax, the military, the policeman and his help, the infiltration into the plant, the television network and the audiences, the rescue of Abby’s father?

12. The final confrontation, the military, the creatures? Vehicles and chases? The role of the creature and saving the humans? The revelation of the secrets? Abby’s father and the information? Aliens and experiments? The consequences for the countryside? The head of the military and his being apprehended?

13. The film and its love of science, imagination? Family story?

MURDER BY CONTRACT

US, 1958, 81 minutes, Black-and-white.
Vince Edwards, Philip Pine, Herschel Bernardi, Caprice Toriel, Kathie Browne, Joseph Mell.
Directed by Irving Lerner.

Murder by Contract is a surprisingly interesting film. It was directed by Irving Lerner who made a number of small budget thrillers, City of Fear with Vince Edwards, Studs Lonigan and the bigger budget The Royal Hunt of the Sun. He also worked as an editor and died while working on Martin Scorsese’s New York, New York. This is also an early film for Vince Edwards was seen to make an impact on television as Ben Casey.

Here Edwards portrays a young man, Claude, who plans to be a hitman, making contact and being kept waiting, then will patiently biding his time, a very orderly man, very detached. In fact, the film is an interesting study of him and his principles, complete detachment, no emotions, planning his killings and executing them with finesse and his not being able to be detected.

The bulk of the film concerns a hit in California where he enjoys looking at the scenery and fishing, puts the identity of the target on hold, then does some planning only to be somewhat jinxed by discovering that the target is a woman, the former mistress of his boss who is to testify in court.

All the time he is accompanied by two thugs, one, Philip Pine, always impatient and unable to understand how Claude ticks. The other, played by Herschel Bernardi, seems to be fascinated by Claude in his attitudes and behaviour.

The film builds up to a climax, the attempted assassination of the target, the mistake made, Claude trying to rectify it but, surprisingly to himself, unable finally to kill the target. To his own detriment, of course.

1. An effective gangster thriller? Psychological study?

2. America in the 1950s, apartments, gang bosses, organised hits, at the barbers, in hospitals…? The deaths not explicitly seen? The transition to California, touristic aspects, the target and her house, the plans for her murder?

3. The significant musical score, light touch, guitar?

4. The focus on Claude, his age, the story of his background, education, experience, skills? Preparing himself to be a hitman? The opening, getting up and getting dressed, the visit to the contact, his shrewd answers, waiting for the fortnight, at home alone, the food being brought in, the phone call? His immediately going, his respect for the contact, willing to undertake any murder?

5. Claude and his philosophy of life, no emotions, killing as a business, wanting his house and getting the money, huge income from hits? His detachment, his studying of situations, his expertise in execution?

6. Being sent to California? George and Marc and then meeting him, their personalities, Marc and his continued impatience as the days went on, George and his being intrigued by Claude’s personality? The tensions with Claude not asking about the target, the sites, going swimming, deep sea fishing?

7. Scouting out the house, his discovery that the target was a woman and its effect on him? His attitude towards women? Wanting more money? A jinx?

8. The woman, her relationship with Claude’s boss, testifying in court, the time limits to kill her? Her personality, energy, in the house, watching television, playing the piano, the range of police? Her wanting a female officer? The woman coming to the house, trying on the negligee? The consequences?

9. Claude working at a theory, getting George to practice archery, Marc and his bewilderment and impatience? Claude scouting out all the guns? The plan, firing the fiery arrow into the grass, causing a disturbance, Claude waiting with the gun? The irony of the policewoman coming to the door being killed?

10. Claude, his manner, his humiliation of Harry and the dirty cup at the hotel, yet giving him a tip? The conversation about guns at the shop? The conversation with the official and the explanation of the house plans and pipes?

11. His failure, George and Marc, planning to kill him, going to the studio, feigning dizziness, tricking Marc and killing him, George inside and the sound of his death?

12. Claude and his booking Mary, at her work, the escort service, coming to the room, Claude and his reaction, her giving the news about the cover-up and the death? Claude ousting her?

13. Claude determined to do the killing, the plans, the pipes, his going through the connections, knocking out the policeman, talking with the victim, her playing the piano, his not being
able to strangle her? In the pipe, his shooting back, the police shooting him, the target surviving – and his hand shown at the pipe?

14. Interesting study of a sociopath/psychopath?

THE MIAMI STORY

US, 1954, 75 minutes, Black and white.
Barry Sullivan, Luther Adler, John Baer, Adele Jergens, Beverly Garland.
Directed by Fred F. Sears.

The Miami Story is a small-budget police thriller about gangsters at the beginning of the 1950s. There was a spate of such films, based on actual history – but there is great optimism from the actual politician introducing the film about the elimination of crime in Miami! These are pre-Castro times and the crime links are with gangs from Cuba.

Luther Adler portrays a crime lord in Miami, Tony Brill, running clubs and drugs, damaging the reputation of businesses in the city. Representation of businessmen have a meeting, one of them, a lawyer, remembers defending an innocent gangster earlier, Mike Pierce, played by Barry Sullivan. Rather unorthodox methods are used to find Pierce, an article about in the papers which disturbs his son.

However, he agrees to collaborate, sets up the impression of a rival gang to Tony Brill, and to collaborate with the Cubans. He closes down the club while Brill had abducted his son. There are further complications with the assassination at the airport by young thug, Ted, John Baer, who Mike persuades to betray Tony Brill. There is also a femme fatale, Gwen, Adele Jergens, working for Tony and the presence of her younger sister, Holly, Beverly Garland.

The film builds up to an expected confrontation and resolution of the crime situation in Miami – and happy romantic ending for Mike, Holly and his son.

Direction is by Fred F. Sears who, died early but achieved a great deal with many small-budget films.

1. The status of organised crime in the US in the early 1950s? The Kefauver Report? This film echoing government action, actual politicians promoting these films?

2. Miami, the settings, the city, hotels and departments, nightclubs, police, special squads? The musical score?

3. Miami in fact, the history of crime? Pre-Castro? and the Cuban connection? Criminals? Drugs? Gangs?

4. The assassination at the airport? Teddy and his skills, shooting, getting rid of the guns? His working for Tony Brill? Brill, his empire, his thugs? The club, luxury? Gwen and her relationship, as an assistant? The clash with the Cuban gangs?

5. The local business leaders, the meeting, memories of Mike Pierce and his gangster days? In retirement, with his son, hunting? The newspaper report, his son fighting the boy, the expose of his being a gangster? His going to the editor? The proposal by the group in Miami? His agreeing?

6. Mike, bringing to bear his skills as a gangster? Setting up? The backing of the group? The confrontation of Tony Brill? Holly coming to see him? Getting help? The confrontation with Ted, strong arm tactics? Closing down Brill’s club? Brill and his reaction? The kidnapping of Mike’s son?

7. Gwen, glamour, her work with Brill, her relationship to Holly, their discussions, hard-boiled? Holly being beaten? Gwen going to see her in hospital? The confrontation with Mike?

8. Mike, dealing with Ted, persuading him to betray Tony? Ted following through, confronting Tony, Tony and his bargaining, shooting of the blanks?

9. The setup, the camera in Tony’s office, the closing down of the club? Tony escaping, with Ted, planning to go to the yacht, to South America? Mike and the group in pursuit? Mike following through, the fight with Ted, fishing him out of the water? His son seeing him, the rescue?

10. The happy ending, Mike and his son with Holly?

11. A morale boosting effort of the early 1950s?

SOFT FRUIT

Australia, 2000, 104 minutes, Colour.
Sacha Horler, Genevieve Lemon, Russel Dykstra, Linal Haft, Jeannie Drynan.
Directed by Christina Andreef.


After directing several short films and winning awards, writer-director Christina Andreef made this first feature film. She drew on her background in growing up in New Zealand as well as her ancestors coming from Bulgaria.

The film focuses on three sisters, each with a different life, families and relationships, tensions with their father and their brother who was just been released on parole from prison. They have come home to Port Kembla, near Wollongong, as their mother has terminal cancer.

The father is gruff, busy, disliking his son, not coping well with his wife’s illness.

She is played very effectively by Jeannie Drynan – who was later to give such a moving performance as a disappointed mother in Muriel’s Wedding.

The film is also something of a black comedy, especially with the behaviour of the dying mother, her hopes, dreams, attitude towards medication, towards her children.


1. The title? Reference?

2. An Australian story, New South Wales, the city of Port Kembla? The atmosphere, the city scenes, the streets and homes, industry? The musical score?

3. The home, the family, the strong father, Patsy and her illness, diving? The return of the three sisters? The return of Bo, from prison? On parole? The father and his control, violence? His resentments? The response of all his children to him? His relegating Bo to the shed?

4. Bo, jail and parole, his relationship with his mother, reading the story of Jackie Kennedy?

5. The sisters, Josie, Nadia, Vera? Each of them in themselves, Josie and her family, their lives and interactions, at home again, their beds in the room, the diets? Nursing their mother?

6. Patsy, her illness, wanting relief? Dispensing with the chemotherapy? Bo and the stories of Jackie Kennedy? Her dreams and hallucinations? Buying the coffin? The spider in the dreams? Going out, Bo and the morphine relief?

7. The pressure on all of the family, the dying situation, the family and its foibles, the blend of the silly and the mundane, aspects of the cruel? Pain and humour?

THE SECRET LIFE OF MARILYN MONROE


US, 2015, 160 minutes, Colour.
Susan Sarandon, Kelli Garner, Emily Watson, Jack Noseworthy, Embeth Davidtz, Jeffrey Dean Morgan, Eva Amurri Martino, Stephen Bogaert, Giacomo Gianotti, Peter McNeill?, Barry Flatman, Tony Nardi.
Directed by Laurie Collyer.


After so many films about Marilyn Monroe, biographies, portraits, documentaries, and conspiracy theories, this miniseries is welcome.

The framework is Marilyn Monroe, a year or two before her death, going to see a therapist (Jack Noseworthy) giving her the opportunity to reflect on her life, her career, her ambitions, her relationship with her mother, celebrity and stardom, her marriages, her drug dependence, her infatuation with John F. Kennedy…

She is played very well by Kelli Garner, from her teenage years to the age of 36 when she died, Kelli Garner looking remarkably like Marilyn Monroe in some shots and sounding like her with her voice and mannerisms.

Susan Sarandon gets prominent billing playing her mother, with Susan Sarandon’s daughter, Eva Amurri Martino, playing her when young. Marilyn’s mother spent a lot of time in institutions, with erratic behaviour, getting religion at one stage, wearing a uniform because she liked control, the continued presence in Marilyn Monroe’s life with Marilyn having some kind of dependence on her. In the meantime, she was cared for by her aunt, Grace, played interestingly by Emily Watson.

The film traces the young Norma Jean in an orphanage, visiting her mother, with her aunt, dating Jim Dougherty and, to avoid the orphanage, marrying him, the separation and divorce to follow.

The film traces her ambitions, auditions, the famous nude photographs, her relationship with mogul Joseph Schenk, with Johnny Hyde her agent, the introduction to drugs. There are some glimpses and mentions of various films including a scene from All About Eve, Diamonds are a Girl’s Best Friend from Gentleman Prefer Blondes, mention of Bus Stop, a poster for Some Like It Hot, the subway scene from The Seven Year Itch and many references to The Misfits.

The film shows her meeting Joe Di Maggio, his love for her, his violent outbursts, separation and divorce, the screenplay plunging immediately into her marriage with Arthur Miller, his support of her but then his second thoughts as well as writing The Misfits.

Marilyn also has a friendship with Patricia Lawford, JFK’s sister, is introduced to the president and is immediately infatuated, the screenplay suggesting that she imagined the president divorcing Jackie after the 1964 election and Marilyn becoming his wife.

There are some sad moments with Marilyn’s mental breakdown, time in an asylum, brought out by Joe Di Maggio, ever devoted to her. The film does not suggest any Kennedy complicity in the overdose which led to her death.

The film was directed by Laurie Collyer, director of Sherrybaby and Sunlight Jr.

1. The status of Marilyn Monroe as 20th-century celebrity, icon? Audience knowledge of her as a person? Her career?

2. The film made for television? Audience knowledge of her, interest in her, her childhood, her erratic mother, the kindness of Grace, the experience of the orphanage, in her teens, her ambitions, auditions, developing a style, auditions, contracts, parties, the relationship with Joseph Schenk, moving into films?

3. The framework of the film, her age, the family, the doctor, the influence on having the therapist, her meetings, the therapist and his personality, style, questions, the sessions? Marilyn and her behaviour, drinking, the drugs, the come-on? The talking about her life, surfacing her attitudes, especially the influence of her mother, going to the orphanage, the sense of loneliness, her talent, ambitions?

4. Norma Jean, no father, her mother’s erratic behaviour, mental condition, going to the orphanage at two, the scenes at home at the clothesline, the authorities coming? Her aunt Grace? Her mother in and out of institutions? Grace and her support, the visits to her mother? Her attachment to her mother? Growing up, Grace having to move, Norma Jean’s friendship with Jim, Grace urging her to marry and to get away from the orphanage? Norma Jean’s hesitation, agreement, the ceremony?

5. Her mother, her character, her mental state, in the various institutions, getting out, getting religion, becoming very proper, her wanting to wear a uniform and have control, her denunciations of the daughter, sitting primly, the wedding ceremony and her comments afterwards?

6. Jim, the date, at the movies, Norma Jean impressed by the style of the girl selling ice creams, the voice and tone? Outings, the wedding, the ceremony, his family, Norma Jean and her hesitation about sex? Her mother coming home, providing excuses for Norma Jean? Jim going into service, the phone calls, Norma Jean going to her mother, the separation, the divorce?

7. Meeting Joseph Schenk, the party, glamour, his interest, the affair and her using the affair for her career?

8. The nude photos, their fame, the sessions, the photographer and his wife? The magazines – and her mother tearing them up?

9. The meeting with Johnny Hyde, his influence on her career, her nerves, his giving her the drugs? The issue with drugs, the doctor?

10. The scene from All About Eve? Singing Diamonds are a Girl’s Best Friend? The success of Gentlemen Prefer Blondes, the comments about Jane Russell’s salary? The premiere of the
film, Grace watching, the interviews, Marilyn becoming a celebrity?

11. The role of Grace, Grace and her illness, Marilyn and Grace’s pills, Grace committing suicide and the effect on Marilyn?

12. Marilyn Monroe and her clashes with Daryl Zanuck, the visits to his office, his arrogance, the pressures on her, his suspending her? Her defiance? Sending the script of The Seven Year Itch? Her wanting to do the film? Rewrites? The famous sequence with the subway breeze? The film’s comment on producers through Zanuck?

13. The meeting with Joe Di Maggio, the girl in the bar, wanting to approach him, Marilyn entering, autographs, her thinking he played football, his not having seen her films? The relationship, development, the nature of the attraction, the love, the affair, the media response, the visit to his family for dinner? The discussions about her career, about children and family, her thinking temporarily, he thinking permanently? The clashes, his comments on her drinking and pills? Watching the famous scene of The Seven Year Itch and his disgust, discussing it afterwards, slapping her, her reaction? His being sorry? The later violence, bashing her, the physical abuse, the mental abuse? Again being sorry?

14. Joe Di Maggio later, coming into a life, helping her, rescuing her, her reactions, the sexual encounters? The death? His sending flowers to her tomb? For decades?

15. The coach, working with her, Joe wanting to get rid of her, her resuming her work with Marilyn?

16. The omission of references to various films – but the therapists reference to Bus Stop? The poster for Some Like it Hot?

17. Arthur Miller, the film plunging into the relationship, not much explanation of how they met and married? Her being pleased that he asked her to read his work for comedy touches? The socials? His exasperation with her? The doctor, the pregnancy, communicating it, her happiness? The impact of the miscarriage? On her emotions, on her mental condition? Miller’s severe condemnation of her? The tensions in the relationship, his writing The Misfits, wanting Clark Gable? Continual rewrites? Her reading his comments on the pad? The pills, her drinking? Filing for divorce?

18. The friendship with Patricia Lawford, walking along the beach, the discussions, Patricia concerned about Marilyn’s health? Discussing JFK, the number of women that he had and not loved?

19. The meeting with JFK, the preparations, the effect on Marilyn, thinking that there was some electric effect, her pining for him, telling Patricia Lawford that he would divorce Jackie after the new election, the Jackie did not read his speeches? That she was the complete partner for JFK?

20. Her nerves, being interned, the padded cell, Joe Di Maggio getting her out?

21. The visits to her mother, taking Joe Di Maggio to meet, her mother wanting his faith in Jesus? The later discussions, telling Marilyn that she was self-centred?

22. Being invited to sing happy birthday for JFK – and the sequence not being re-enacted?

23. Marilyn and her emotional, mental decline, the pills and the drink? Are being found dead? (In the film not going anywhere near conspiracies with the Kennedys?)

24. The final fantasy sequence of Marilyn together with her mother?

25. The effect of the framework and the recurring discussions with the therapist, the opportunity to reflect on her life, her feelings, his asking her about her feelings, his personal response, her changes throughout the interviews?

26. Audience opinion about Marilyn Monroe after seeing this film?

HOME FRIES


US, 1998, 91 minutes, Colour.
Drew Barrymore, Catherine O' Hara, Luke Wilson, Jake Busey, Shelley Duvall, Lanny Flaherty.
Directed by Dean Parisot.


Home Fries is something of an unexpected black comedy, especially with the title and much of the action taking place in a hamburger joint.

At the centre of the film is Sally, a young waitress played by Drew Barrymore, pregnant by the boss of a nearby factory whom she discovers is married and has not told his wife. Her mother, Shelley Duval, works at the same place and her father, Lanny Flaherty, is an alcoholic who turns up and causes all kinds of trouble.

In the meantime, two brothers, played by Luke Wilson and Jake Busey, are helicopter pilots for the military on weekends and are first seen pursuing a man, at night, lights ablaze, then firing blank bullets at him – and he sits on some seats and has a heart attack and dies. It turns out that he is their stepfather and to have one acting behalf of their mother, Catherine O’ Hara.

They fear that the headphones and microphones at the burger centre have intercepted their radio conversation and one of the brothers goes to investigate but falls in love with Sally.

Catherine O’ Hara enjoys herself as the self-centred mother. Jake Busey is the manic son who is upset to find that Luke Wilson is her favourite. There are several murder attempts – but, an expected happy ending.

1. The title, expectations? The emergence of black comedy, the tone, the surprise events and characters?

2. Texas, the burger centre, homes, upper-class, poor homes? The military and the helicopters? The police? The musical score?

3. The burger centre, Sally working there, the staff, the boss, the headphones – and the interference with the voices from the helicopters? Henry, talking to Sally, her pregnancy, his not telling his wife, his callous attitude, Sally not knowing he was married? Driving through the burger shop? The helicopter pursuing him, his running, the light, his sons, in the helicopter, their frightening him, Angus and his decisions about the rubber bullets? Henry sitting, his heart attack, his tablets? The police finding him?

4. Angus and Dorian, different types, relationship with their mother, supporting her, the military, the helicopters, the pursuit of Henry, their stepfather? Telling their mother, her toughness, reaction, covering up, her being angry at Henry’s relationship, the search in the house for the photos, going to the funeral, the mockery of her grief? The aftermath? Wanting vengeance?
Favouring Dorian, Angus upset, trying to say that it was only a small distance of favouritism for Dorian?

5. Sally, her story, getting the lift, her father coming to the centre, his drinking, his tantrum, her mother working at the centre, the little boy and his party, Dorian and getting the job, to get the information, dressing up as a robot, the bullet in the burger, drawing his gun, the police?

6. The wrong photo, the woman to be killed, Angus and his setting up the poison, having to rescue the woman and having to rescue Dorian? The mother declaring it was the wrong woman?

7. Dorian and Sally, the talk, her asking him to go to the birth practice sessions? His not telling her the truth? Seeing her at the funeral? Taking her to see the helicopter, the fellow pilot and his remarks?

8. The truth, Sally upset, Dorian and his declaration of love?

9. The mother, the visit to Sally, pretending to be sweet? The family at home? Angus, the helicopter, the pursuit of the car? The mother and her fear, getting out? Angus and his aiming the guns, his dilemma, not firing?

10. The birth of the child, Sally happy, Dorian happy, talking to the baby about the relationship?

11. The comedy and the ironies?

THE INTERRUPTED JOURNEY

UK, 1949, 80 minutes, Black-and-white.
Valerie Hobson, Richard Todd, Christine Norden, Tom Walls, Alexander Gauge, Ralph Truman, Dora Bryan, Vincent Ball.
Directed by Daniel Birt.

The interrupted Journey is a brief British psychological drama from the 1940s. The star is Richard Todd who was emerging both in England and in the United States (The Hasty Heart) and was to star in Disney films like Rob Roy and The Sword and the Rose, then moving into war films like the Dam Busters. Valerie Hobson had been a veteran of British films since the 1930s but was soon to end her career to be wife and mother. There is a strong supporting British cast.

Richard Todd plays a man running away with the wife of a client, Christine Norden, posting a letter to his wife as explanation. On the train he has qualms and pulls the emergency cord, hurrying home to his wife, but the train crashing and the woman being killed.

He is tense at home, being supported by his wife, telling the truth, encountering the rail inspector, then the detective – and the explanation that the crash was not caused by the pulling of the cord but by signal failure, and then a twist with the fact that the woman had been shot and her husband dead on the train.

He then decides to go to the hotel where the booking was and finds the husband alive, drinking and threatening.

Then he comes to. It has only been a few minutes on the train – the situation is repeated, this time the woman pulling the cord, his hurrying home, fearing the crash – which does not happen. It is a conscience premonition story.

1. The title? The train, pulling the cord, John getting off, the consequences?

2. The British setting, the train, the countryside, home, Devon and the hotel? The musical score?

3. The narrative, straightforward, the twist at the end, Jervis and his attack on John, John coming to consciousness, on the train, the discussions with Susan, pulling the cord, getting off, at home – and the sound of the train, and its not crashing?

4. The character of John, age and experience, his marriage, love for his wife, the decision to leave, the encounter with Susan, the work connection, his dislike of Jervis? Their leaving on the train, the express, the hotel booking? Writing the letter, for his wife? Posting it? The delivery and his collecting the letter, burning it, not completely and Carol seeing it?

5. On the train, the plans for the future? His doubts, pulling the cord, the train stopping, his jumping off? Hurrying to his home? The train crash?

6. Carol, at home, love for her husband, the tension between them? His return, being jumpy, the newspapers and the headlines? The rail inspector? The detective? Interrogation? The pulling of the cord as the reason for the crash? Later discounted? The signals? His not being to blame?

7. The effect on John, his love for his wife, regretting what he had done, telling the truth, the reconciliation, the support?

8. The personalities of the rail inspector, the questions? John going to the pub, the inspector present? His nerves? The personality of the detective?

9. The mystery of the bodies in the train? Jervis as dead? The sudden news that Susan had been shot? John and the discussions with Carol, determining to go to the hotel?

10. His travel, the hotel booking, Jervis present, climbing the wall, the confrontation with Jervis, his drinking, maniacal, the gun, the shooting?

11. John coming to consciousness, only a few minutes passing, the return to Susan, the discussion, to return to Carol? Susan pulling the cord?

12. John returning, his explanation to Carol? The hearing of the train signal? Looking out the window – but the train not crashing?

13. The film as a conscience premonition?