SWIMFAN

US, 2002, 85 minutes, Colour.
Jesse Bradford, Erika Christensen, Shiri Appleby, Kate Burton, Clayne Crawford, Jason Ritter, Dan Hedaya, Michael Higgins.
Directed by John Polson.

In 1999, Hollywood released an updated remake of the classic Dangerous Liaisons. Nothing necessarily remarkable about that. The difference was that it was set in the teenage world of high school and college in the US. It was called Cruel Intentions. Even audiences who aren't aware of using adult stories for teenage movies will recognise the similarities between Swimfan and Fatal Attraction.

School swimming star, Jesse Bradford, who has a past with drug problems has reformed and is going steady with his nice girlfriend, Shiri Appleby. When he helps newcomer, Erika Christensen (Michael Douglas's daughter in Traffic), open her school locker, he has no idea of the Pandora's box he is opening up. She pursues him to the swimming pool and... After that, she becomes more and more deranged and murderous (although she does not boil a rabbit!). This film emphasises some of the more melodramatic aspects of the plot. It is, of course, a moral fable warning men, young and old, to beware because hell hath no fury like a woman scorned.


1. The title? Psychological drama? A hero, a stalker?

2. The high school background, apartments and homes, pools, hospital, streets and roads? The musical score?

3. Ben’s story, star swimmer, high school, his hopes, the scouts from Stanford, relationship with Amy, her plans for University, but wanting to be with Ben? His mother, working part-time in the hospital?

4. Ben story, the drugs, crime, juvenile hall, the change?

5. Madison, Ben and the car accident, giving her a ride, leaving her notebook, his initials in the musical stave? His meeting Christopher, Madison and anxiety, the meal, her saying she had
a boyfriend in New York? Her going to the pool, the seduction, the sexual encounter, the aftermath, agreement to keep it quiet?

6. Madison appearing at the party, friendly with Amy, Ben and Madison pretending not to know each other? Her continued pursuit of him, messages, emails, the visiting Ben’s mother, the telling Amy the truth? Her dating Josh, Ben’s teammate?

7. Ben, his fears, confessing to Amy, the episode with the steroids, his being disqualified, suspecting Madison?

8. Josh, the teammate, his personality, with Madison, her mistakenly calling Ben’s name?

9. Josh, his death? Ben being blamed, his break into Madison’s apartment, finding the drugs, the shrine to him, his possessions? Discussions with Christopher? The fact that there had been a previous victim, Jake, the visit to the hospital?

10. Madison becoming more psychotic, disguised as Ben, pursuing Amy? Ben getting the blame?

11. Ben and the recording of Madison and her confession? Her being charged, escape, shooting the police, taking Amy, pushing Amy into the pool, the handcuffs?

12. Ben, attacking Madison, rescuing Amy, Madison going to the pool, unable to swim?

13. The stalking experience, Ben and his swimming, career? But love for Amy?

MY KINGDOM

UK, 2001, 117 minutes, Colour.
Richard Harris, Lynn Redgrave, Tom Bell, Aidan Gillen, Emma Catherwood, Louise Lombard, Paul Mc Gann, Jimmy Mistri, Lorraine Pilkington, Colin Salmon.
Directed by Don Boyd.

Director Don Boyd had met many British gangsters during his documentary career and found that he was attracted to many of them while repelled by their vicious behaviour. Wanting to make a film about this world, he found that rundown Liverpool would serve as the ideal setting. In reading classic literature to find a core for his story, he decided on King Lear. The result is a surprisingly interesting use of Shakespeare and a fairly detailed parallel with the play.

Richard Harris makes a credible patriarch, a ruthless gangster who loves his wife, Lynn Redgrave, but has spoilt his children and set them and their husbands in rackets of prostitution and money-laundering. But he is tired and when his wife is suddenly killed in a mugging, he decides to hand over his empire. We know what happens: the youngest daughter begs out, the older daughters spurn their father and are rivals in greed and in the attentions of a corrupt detective (the Edmund figure). The Duke of Gloucester is now a customs officer pursuing the criminals. The fool is the patriarch's grandson who is wiser than the rest of the family. He also serves as the Edgar figure who accompanies the king out in the storms and when his wits begin to turn.

For those who know nothing of King Lear, My Kingdom would probably come across as an intense drama of cruelty and greed, lust and betrayal which uses the landscapes and landmarks of Liverpool to authentic effect. For those who do, it is fascinating to see how the writers use the play, its plot and its psychology. The cast is strong with television stars Louise Lombard, Lorraine Pilkington and Emma Cathcart as the three sisters, Tom Bell as the customs officer and Paul McGann? and Jimi Mistri (East is East and The Guru) as a sadistic Sikh son-in-law. But it is Harris's film. In many films he has gone over the top in his ranting and raging. Here he remains quieter, with silent screams, yet a depth of pain and disillusionment as he grows older.

1. The popularity of British gangster films in the 1990s and early 21st century? The tradition of these films, conventions?

2. The Liverpool settings, echoes of London? The gangster world, the families, their dealings, drugs, violence?

3. The title, the echoes of Shakespeare, the parallels with King Lear? Action? Talk? The musical score?

4. Richard Harris as Sandeman, the King Lear equivalent, age, character, stature, the patriarch? His life, his daughters, their husbands? His plans? Retirement? His heritage?

5. Going to the church, the concert, in the audience, the phone call, the drug deals? His being mugged? His relationship with Mandy, their walk, her being shot?

6. His daughters, the different attitudes, their involvement in criminal activities, running brothels, prostitution? The bond with their husbands, the husbands and involvements with crime?

7. Jo, the middle daughter, her inheritance, her past, her relationship with her husband? Not wanting the inheritance? The other daughters, Kath and her marriage with Dean? Tracy and Jug? The characters, clashes, relationship with their father? The behaviour at the funeral?

8. The husbands, their backgrounds, Jug, religious and cultural background? His sadism and torture?

9. The Edgar character – the wise fool and advice?

10. Puttman and Quick, police and detectives, the deals? One corrupt, one honest? Setting a trap Sandeman? The Dutch farmers, the Dutch drug deals?

11. The effect on Sandeman, getting older, rejected, his moral and physical collapse?

12. How well did the film work as a gangster story? How well did the film work as a variation on the plot of King Lear?

A WALK TO REMEMBER

US, 2002, 101 minutes, Colour.
Shane West, Mandy Moore, Peter Coyote, Daryl Hannah, Lauren German.
Directed by Adam Shankman.

I often hear people say that film producers should make more 'wholesome' films, films that anyone could see, especially families. Easier said than done. And, when a film that matches up to expectations is released, audiences do not support it by buying tickets. A number of film-makers in the US, often with the financial backing of religious groups or churches, have made films like The Spitfire Grill or the recent Joshua film. A Walk to Remember is the latest of the films that have been made to appeal to families, especially in the American bible belt.

It has reasonable credentials. Shane West is a popular television actor and Mandy Moore has a strong reputation as a singer. The director, Adam Shankman, made The Wedding Planner. Veterans Peter Coyote and Daryl Hannah lead the adult cast.

The plot is one that families can identify with. Students at a North Carolina High School urge a classmate to leap from a tower into a river. When he is severely injured, one of the young men who dared the jumper is given a punishment which requires him to be a tutor to underprivileged children. There he comes across the daughter of the local pastor, an intelligent but reserved girl who dresses in a dowdy manner and is looked down on by other students, especially because of her unembarrassed Christian faith. When part of his tutoring requires him to take part in a play, he asks the girl to help him. You can almost guess the rest which is a mixture of happiness and tears.

The film is very strong on traditional values of love, marriage and family.

The film was quite well received in the United States by its intended audience. However, I am not sure it travels so well outside America. It is not the values which are well worthwhile but, rather, the obvious way in which they are presented. The drama is nice but not particularly challenging. Audiences who experience life as more complex, problems more tangled, a mixture of the good and the evil may find this film too bland. The other issue is sentiment. Americans are far more extravert in their expressions of feelings. They proudly (and sometimes loudly) wear their heart on their sleeves. This can alienate non-American audiences who find the film too gushy or sentimental for their taste.

I found A Walk to Remember, which I saw in the United States as part of a national Catholic media conference, disappointing as drama and too emotional. On the other hand, it might be just the film for a family to see together or to use with school groups for discussion. No matter how worthy the subject, we still need engaging and dramatic treatment of the themes to become involved. It is still a big challenge to make serious quality family films.

The was based on a novel by Nicholas Sparks who had drawn attention with the film version of Message and a Bottle – and then was to be popular over several years with such film versions as The Notebook, Night in Rodanthe, Dear John, The Best of Me, The Choice.

1. The impact of the film? Target audience? Fans of Nicholas Sparks’ novels? Younger, older? Story, characters, values?

2. North Carolina, homes, school, the church, the countryside, hospitals? The musical score?

3. The focus on Landon Carter, his age, reputation at school, the drinking, the severe pranks, the injury, the punishment, his role as a tutor, with children, the play, the rehearsals?

4. Jamie, Mandy Moore, screen presence, age, daughter of the minister, plain clothes, dowdy, unnoticed? No make up, seen as the nerd, the outsider? Her being in the play?

5. Landon, the relationship with Jamie, no affinity with her, having to work in the play, her stating he was not to fall in love with her, his image with his friends, the secret friendship with Jamie, her response, from friendship to touches of love?

6. The play, the rehearsals, the performance, Jamie singing? The impact? Landon and his response, the kiss? His friends, the further pranks? Landon, inviting Jamie on a date, her father being strict and not approving of Landon? The religious background? The character of her father, her mother? Her place in the family? Jamie reluctant, Landon’s motivations, his affirming Jamie?

7. Going on a date, her wanting to be in two places at once, the issue of the tattoo? Discussions, her explanations about her experience of belief, like the wind? Allowing Landon to kiss her? The further dates, the revelation about her leukaemia, Landon and his concern?

8. The change in Landon, his support for Jamie? The gift of her mother’s book?

9. Landon, his own father, the clashes, coming together?

10. The telescope, looking at the comet, leading to the proposal, the wedding and the venue, those present, the joy? The buildup of Jamie’s illness? Her death?

11. The background of supporting characters, at school, the play, family, relatives and friends, the hospital, the doctors?

12. Four years passing, Landon and his studies, returning the book to Jamie’s father, his change of perspective on Landon, the regret that there was no miracle – and the fact that Landon was a miracle for Jamie in her illness and death?

13. Love like the wind, feeling it but not seeing it?

NOVOCAINE

US, 2001, 95 minutes, Colour.
Steve Martin, Helena Bonham Carter, Laura Dern, Scott Caan, Elias Koteas, Chelcie Ross, Lynn Thigpen.
Directed by David Atkins.


Novocaine, as the title might indicate, is set in a dentist's surgery. The director is David Atkins, who had written the screenplay for Emir Kusturica, as well as oddball film, Arizona Dreaming. This film is, in many ways, oddball because it is a mixture of the film noir with screwball comedy with a touch of the 21st century in the focus being on drugs and drug dealing.

Steve Martin, who had played a dentist in The Little Shop of Horrors, seems at home in his surgery (the notes indicate that director David Atkins' family were dentists as well). He begins his story with the kind of voice-over reminiscent of such films as Double Indemnity, which indicates a femme fatale, a professional man who succumbs to her as well as an investigation for crimes committed. This time Steve Martin is seduced by Helena Bonham Carter who, as it transpires, is after prescriptions for drugs (and a whole lot of other complications which are finally revealed in the terms of a murder mystery). Martin is assisted in his surgery by Laura Dern, a bright and breezy nurse who practised martial arts in her spare time. Elias Koteas appears as Martin's brother. Scott Caan is Helena Bonham Carter's druggie brother, and there is an unbilled cameo appearance by Kevin Bacon, who is very funny as an actor accompanying the detectives and referring all the means of investigation and styles to himself.

The film is a mixture of the humorous and the serious. Whether they blend together is another matter. Perhaps the difficulty is that audiences are expecting Steve Martin to be funny all the time (even though he has done serious roles in such films as Grand Canyon and The Spanish Prisoner). This means that while the film is a reasonably enjoyable pastime, it doesn't stay strongly in the memory.

1. Comic? Human? Serious? The title, the dentist setting, drugs, numbness?

2. Setting, homes, the surgery, hotels? The domestic world? Professional world? The musical score?

3. Frank’s story, Steve Martin and the role? Dentist, seen at work, the range of clients, his staff? Meeting with Susan, the experience with her, dental concerns, the root canal, her return, the interaction, her seduction? The prescription, 50 tablets instead of five? Her drinking, stealing the drugs? Frank, the hotel, confronting her? Her continued seduction? The effect on her, on Frank?

4. The character of Susan, eccentric, the drugs, her relationship with Frank, at the dentists, seduction, taking the drugs?

5. Harlan, Frank’s brother, the relationship between the two? Jean, his death?

6. Duane, Susan’s brother, drugs and addiction? Protective of his sister? The bed, a disguise and the trick, the confrontation with Frank? The attack, the scissors, Frank stabbing Duane? His death?

7. The character of Jean, in herself, her relationship with Frank? With Harlan? The further revelations about her and her character?

8. The drug investigation authority and the visits to Frank? The deaths, the police and the interrogations?

9. The comic touch with Lance, his character, performing, consulting with Frank, the interviews?

10. The issues of teeth, teeth marks, reconstruction of dental plates? The identification? Implanted in the destroyed corpses? Identification through the teeth?

11. The revelation about Jean, her relationship with Harlan, with Duane, with Frank? Being the mastermind? The death of Harlan – and his holding the video? Her being accused?

12. Susan and Frank, the setup of the false identity with the corpse? Going to France? The future?

THE FULLER BRUSH GIRL

US, 1951, 85 minutes, Black and white.
Lucille Ball, Eddie Albert, Jerome Cowan, Gale Robbins, Carl Benton Reid, John Litel, Lee Patrick, Jeff Donnell.

Directed by Lloyd Bacon.

While this is a small film of its time, The Fuller Brush Girl is still very entertaining, and very funny for contemporary audiences.

It was written by Frank Tashlin had begun his career in animation, move to screenwriting, relying on his cartoon jokes, pratfalls and slapstick comedy, the continual succession of gags. While he had directed some films, during the 1950s and 1960s, he had quite some success in directing films with stars like Tom Ewell, Jayne Mansfield and, especially, Jerry Lewis.

The film was directed by Lloyd Bacon, a steady director at Warner Brothers during the 1930s and 1940s, adapted to all genres of films – and able to transfer Tashlin’s comedy to the screen.

The film is also a star vehicle for Lucille Ball who had been in films with significant roles since the 1930s with quite some significant roles, moving to MGM where she appeared in a number of their lavish musicals. She was about to become Lucy with her television show and her husband Desi Arnaz, I Love Lucy. She had her main success on television but also made some amusing films in the 1950s, The Long, Long Trailer and Forever Darling. She also starred in the screen version of Mame.

There is a very funny credit scene with an anonymous Fuller Brush Girl going to a number of doors and getting all kinds of brush offs. We are then introduced to Lucille Ball’s Sally, at a switchboard, urging her boyfriend, Humphrey, Eddie Albert in a rather low a key role, to get a job. Jerome Cowan is the boss who is involved in crooked dealings including getting his wife to go on holidays before a smuggling operation.

There is mayhem at the switchboard when Sally has Fuller powder all over her, sneezes, sets the switchboard a light and is fired.

She decides to be a salesperson herself, the first customer being Red Skelton (who had played The Fuller Brush Man in the comedy of 1948). There are a series of disasters including babysitting, being tied up, tying up the children. The main complication occurs when the boss has to explain the powder on his clothes because of Sally’s sneezing and his wife does not believe him. Sally is asked to go and explain but when she fails to arrive, the boss asks a burlesque dancer, Gale Robbins, to take her place – the wife is murdered.

The police are suspicious, Sally thinks she has murdered the wife but has not, Humphrey helps her, they Escaped from the police, going to a burlesque show with Gale Robbins singing Put the Blame on Mame, from Gilda. There follows quite an amount of slapstick comedy, escaping over the roof of buildings, going onto a boat, the couple being pursued by the criminals with all kinds of shenanigans and two parrots who mislead the humans because they are able to literally parrot the latest words that they have heard.

It is old and perhaps old-fashioned – but funny nonetheless.

1. Classic comedy? A small comedy? 1951? Characters, gags, slapstick and pratfalls?

2. The writing of Frank Tashlin, his career as an animator, screenplays, direction, working with a variety of comedians? His sense of humour, jokes, situations, cartoons with live action? The continuous jokes in the screenplay, taking them ahead of time but audiences enjoying them?

3. Lucille Ball, her long career before this film, at MGM in musicals, the increasing success? About to move into television I Love Lucy? Her skills as a comedienne? Her skills as a clown?

4. The American city, the suburbs and streets, houses, various houses and doors? Offices? The police precincts? The wharves? The ship? The musical score? The burlesque theatre, Ruby singing Put the Blame on Mame? Sally and her burlesque performance, the music, the beat, her rhythms and timing?

5. The opening credits, the gags at each door with the Fuller Brush Girl and the attacks?

6. Lucille Ball is Sally, tall, redhead, ditzy, working at the switchboard, her love for Humphrey, wanting to put the deposit on the home, the discussion with the estate agent, engaged to Humphrey, for a long time, hopes for marriage? Urging Humphrey to apply for the job, her girlfriend, the powders and the mayhem, the switchboard blowing up, Mr Simpson covered in powder? Her being fired, the breaking glass doors? Her sneezing – and that continuing on the bus with dire results? The gags with hats, babies, things flying out bus windows?

7. Her friend visiting, the explanation of the Fuller Brush Girl, the cosmetics? Money motivations for Sally, her decision to go out and sell, the encounter with Red Skelton, memories of the Fuller Brush Man, his selling her things? Selling to the woman, and her subscription to the magazine? Being mistaken for the babysitter, the mayhem, the kids, then tying her up, her tying them up? The women, playing bridge, the boy with his chemical experiments, her dealing with the hairstyles, the wrong liquids, the hair falling out?

8. Humphrey, a nice man, rather self-effacing, Sally pushing him to get the job, asserting himself to the boss, his being used because he was stupid, the deposit on the home,
the discussions with his boss, finding Sally to make the explanation clear to the bosses wife?

9. Simpson, the boss, his plot, using Humphrey, Mr Watkins and being fired, the links with the other thugs, smuggling diamonds? His wife, sending her on a holiday, her smelling the powder? His plan, getting Sally to explain? Her not turning up, getting Ruby, his wife dead?

10. Sally, going to the house, the encounter with Ruby, being knocked out? Thinking that she was Mrs Simpson? The hitman? Simpson and his mistakes? Humphrey’s visit?

11. The police, the evidence, everything pointing to Sally, the contact with Humphrey, the car outside the house, the media?

12. Sally and Humphrey, the escape from the police, over the fences, going to see Simpson, Sally realising that Ruby was the woman she saw, going to the burlesque, in the
audience, the chorus, Ruby and her version of Put the Blame on Mame? Ruby backstage, quitting, planning to go on the boat?

13. Sally, at the stage entrance, with the men, putting on the costume, applying for the job, the grotesque make up and lashes? The chase with criminals, on stage, her performance, the rhythms, the beat, the strip? Humphrey’s embarrassment? The manager wanting to hire her?

14. Going to find Simpson, his being dead, Humphrey on the floor, Mr Watkins shooting at him? Their fleeing on the roof, Watkins taking them to the wharf, realising the truth, their abduction onto the boat? Watkins committing the murders?

15. Ruby, backstage, the solution, explanations for the police?

16. The farce on the boat, the chases, hiding, in the funnel, dangling from the wires, the parrots and their talking and imitating the humans, hiding amongst the sacks, the roles, the wheels and Sally going around the boat, plugging the wine casks, drinking the wine, the cask with the star and the explosives?

17. The Coast Guard, the police, the pursuit? The criminals, realising there would be the explosion, diving overboard? Sally and Humphrey romantically together – and the parrots and their imitation?

UNKNOWN PLEASURES


China, 2002, 112 minutes, Colour.
Directed by Zhang Ke Jia.

The new century with its instant information, communication and absorption of western lifestyles, especially for the young, has meant that young adults, almost the world over, are experiencing the same problems of unemployment, loss of traditional standards and values, the advent of a pop culture that fosters an amoral attitude towards everything in life.

China has experienced this phenomenon as well. Unknown pleasures are what so many are seeking.

This film follows two young men in a city near Mongolia in patterns of life that are true of Chicago, Manchester, Marseilles or Manila. The style and structure of the film reflects this uncertainty and gives the impression of being haphazard, the director making it up as he goes along - which might make for a realistic impression but is less impressive as a moving drama.

CHARLOTTE GRAY

UK/Australia, 2002, 121 minutes, Colour.
Cate Blanchett, James Fleet, Abigail Cruttenden, Rupert Penry- Jones, Billy Crudup, Michael Gambon, Anton Lesser, Ron Cook.
Directed by Gillian Armstrong.

Charlotte Gray is based on a war novel by celebrated author, Sebastian Fawkes.

The film has been adapted for the screen by Sebastian Faulkes and has been directed by Gillian Armstrong, a prominent Australian director who impressed audiences with her initial feature film, My Brilliant Career, made several films overseas including Mrs Soffell and Little Women. She had worked with Cate Blanchett in one of her earliest films, Oscar and Lucinda.

Cate Blanchett has the capacity of immersing herself in her roles, not looking particularly different necessarily, but creating a completely new character. Here she is a young Scots woman who is working in London. She has a chance encounter in the train with a man who interrogates her (James Fleet), sees her potential for work in the Resistance, gives her a card and, encouraged by friends, she goes to a party that he hosts. There is a complication at the party where she encounters a young pilot, Rupert Penry- Jones, and they are attracted.

In the situation of war, he is concerned that if she works for the underground she is in danger but she says that he is in more danger as a pilot. In fact, he is shot down and disappears in France.

With a background knowledge of French, Charlotte agrees to become part of the war effort, first training as a First Aid driver, then parachuting into France. But, when her cover is in danger, she goes to work as a housekeeper in the home of the father of the French resistance leader, Julian (Billy Crudup). The father is played by Michael Gambon.

Since this is 1942, there is a focus on Jewish residents of France, their being rounded up by officials of the Vichy government. The father is giving shelter to two Jewish boys and he himself is of Jewish origin. One of the officials in the town (Anton Lesser) pressurises Charlotte to give information and begins a liaison with her, he controlling her, she protecting the Jews.

When one of the resistance missions is disastrous, Julian is suspicious of Charlotte but there are more complications when the local official forces Julian to betray his father and the boys as Jews, Julian explaining that he is Jewish but this is rejected because this is only a small part of his ancestry.

Charlotte is moved by the fate of the father and the boys, writes a letter in the name of the boy’s parents urging them to courage.

At war’s end, the pilot is discovered to be still living but the relationship between Charlotte and himself has broken down and she goes to the south of France to meet Julian again.

Many audiences liked the film but it received quite some critical condemnation – unfortunately.

1. A 21st-century perspective on World War II? 60 years after the events? The perspective of the novel, Sebastian Faulkes? Audience awareness of other war heroines, Nancy Wake, Odette, Violette Szabo and films on their exploits?

2. Audience knowledge of World War II, the war in Europe, the Nazis, the invasions and occupations, the French Resistance? National experiences of the war? Personal?

3. The recreation of France in the period, costumes, decor? The contrast with London and England? The villages, life and detail, homes, streets, cafes? The countryside? The railways? The action sequences? The musical score?

4. The title, the focus on Charlotte, Cate Blanchett’s presence and performance? 1942? Scots, on the train, the encounter with Richard, the discussion? His card? His interest in recruiting people? The invitation to the social, her acceptance, her friends urging her? The encounter with Peter Gregory? The attraction, together? His future as a pilot, the dangers, his concern about her accepting the role in the underground?

5. Charlotte going to France, the training in First Aid, details of the training, her becoming a driver? The news of Peter, missing? Her motivations, her knowledge of French, and willing to join the resistance, parachuting into France, the night, the chance encounter with the boys, their torches, their thinking her and angel?

6. The mission, to deliver the tubes, the meeting with the agent, in the cafe, the agent fearing her cover was revealed, the police arrival? The danger for Charlotte and being exposed?

7. The friendship with Julian, his father and his house, the Resistance? The young boys, the two that Charlotte had met? The Jewish background? The Vichy government, the quota for Jews to be transported?

8. Renech, his authority in the town, the Jewish quota, his relationship with Charlotte, wanting her to give information, his control over her, her surface agreement?

9. The resistance, Julian, the ambush, so many killed? Suspicions about Charlotte? Renech’s arrival, the papers?

10. The conflict, the pressure on Julian, to betray the Jews, to betray his father? The character of his father, respect for him? While betraying his father but admitting his Jewish ancestry – rejected because of the small component? The father and the boys taken? On that train, Charlotte trying to rescue them?

11. Julian, approaching Renech, shooting him? His decision to go to the south of France?

12. The trains, the deportations, the people running to identify relatives, Charlotte writing the letter, finding the carriage with the boys and Julian’s father, giving the latter, forgery, yet for Charlotte, the importance of hope, the hope for the boys? And the death in the concentration camp – as explained in the novel?

13. The end of the war, Charlotte’s experience, discovering that Peter had survived, their meeting again, the romance unable to be rekindled? Charlotte going to seek out Julian? Revealing her name?

14. The audience immersed in the experience of World War II?

JANE EYRE


UK, Italy, 1996, 112 minutes, Colour.
Charlotte Gainsbourg Borg, William Hurt, Anna Paquin, Fiona Shaw, John Wood, Geraldine Chaplin, Amanda Root, Leanne Rowe, Richard Warwick, Joan Plowright, JosephineSerre?, Billie Whitelaw, Elle Macpherson, Julian Fellowes, Edward De Sousa, Samuel West, Peter Woodthorpe, Maria Schneider.
Directed by Franco Zeffirelli.

Yorkshire looks drab after the Regency period of the Jane Austen movies. And this interpretation of Charlotte Bronte's novel, staying close to the plotline, is more of a storybook presentation rather than a dramatic interpretation.

Franco Zeffirelli has brought Shakespeare and opera to life, but his treatment is fairly conventional here. It is not helped by William Hurt's appearance (he looks ill) and rather stolid performance as Rochester. Charlotte Gainsbourg tends to passive response rather than initiative in her performance which makes Jane too enigmatic, whereas Anna Paquin (from The Piano)) is much more vital as the young Jane. The supporting cast is better, especially Joan Plowright as Mrs Fairfax.

The social background is a rather Dickensian, but the romance and melodrama are fairly bland Bronte. Not that audiences may not enjoy it, but with so many fine adaptations of English literature later, this one is a bit of a pity. Plain Jane, plain movie.

1. The popularity of Charlotte Brontë’s novel? The Victorian story? The touch of the Gothic, the touch of the romantic?

2. The variety of film and television versions? The status of this interpretation?

3. The novel into film, the pruning of the plot? The perspective of Franco Zeffirelli and his filmmaking?

4. Jane and her background, her childhood, Mrs Reed, her aunt, going to the orphanage, the staff and their personalities, the discipline and routines, Jane and her friendship with Helen Burns? Her death? The teaching, learning, Jane learning to be a teacher? Her upbringing?

5. Thornfield Hall, Rochester, audience expectations of him, William Hurt’s presence and performance, his manner? Hiring Jane as a tutor for Adele? His personality, the household, Mrs Fairfax? His being reclusive, the family, his secrets? Bertha and her confinement? The effect on him?

6. Jane, employed, tutoring, teacher? Her manner? Demure and reserved? With Mrs Fairfax? Other members of the staff? Jane strong in her opinions? Her response to Rochester, falling in love with him, the preparation for the wedding?

7. Mrs Fairfax and her presence, influence, relationship with Jane?

8. Bertha, the marriage, her past, the madness, confined, Grace Cool looking after her? Rochester’s relationship with his wife? Her breaking out, setting the fire, her death?

9. The marriage preparation, the influence of Rochester’s brother, the lawyer, forbidding the marriage?

10. Jane, leaving, out in the cold, trying to survive? Going to her aunt, her recovery?

11. The parsonage, the parson, his love for her, the proposal? Her refusal?

12. The return to Thornfield Hall, burnt down, Rochester and his ruin, his sight?

13. Love for Rochester, recovering his sight, the future?

BOAT TRIP

US, 2002, 91 minutes, Colour.
Cuba Gooding Jr, Horatio Sans, Roselyn Sanchez, Vivica A. Fox, Maurice Gldin, Roger Moore, Lynn Shaye.
Directed by Mort and Nathan.

The media kit for Boat Trip describes it first as 'funny', then twice as 'hilarious' and, finally, as 'hysterical'. I thought they were exaggerating wildly when they said 'funny'.

Two sex-obsessed friends go on a cruise. Because they have clashed with their travel agent, he books them on an exclusively gay voyage. Half the film looks like gay-bashing, the other half is a mixture of high camp hijinks and jokes and of homophobics learning to understand. But the whole thing is really relentlessly heterosexual.

Cuba Gooding mugs like mad and gets to do a flamboyant drag queen act. Roger Moore turns up as a wealthy ex-army queen. Farcical but not funny. (A sardonic reviewer friend joked before he saw it that there was a misprint - it should have read Boat Tripe. Alas, he was prophetic.)

LILO AND STITCH


US, 2002, 85 minutes, Colour.
Voices of: Daveigh Chase, Chris Sanders, Tia Carrere, David Ogden Stiers, Kevin Mc Donald, Ving Rhames, Zoe Caldwell Jason Scott Lee.
Directed by Dean De Blois, Chris Sanders.

What is needed these days to make a successful Disney feature for young children? Lilo and Stitch suggests some of the answers. During the 90s, classical stories were popular. We think of Beauty and the Beast, a comic version of Aladdin and a new classic, The Lion King. It is definitely not so straightforward now.

Who are Lilo and Stitch? Stitch is introduced to us first. He is genetic experiment 626, produced by a mad scientist in a galaxy far, far away. The Council banishes him to earth. But, just as we are settling into a mini version of some star wars, the mood chages completely.

We are then introduced to Lilo. She is a young Hawaiian girl who lives with her sister, Nani, with whom she is always quarelling. When Nani allows Lilo to buy a dog, whom does she find in the pound, terrifying all the stray dogs, but Stitch? She has to have him. Together, Lilo and Stitch are able to rustle up quite a bit of mischief and some slapstick comedy.

So, it looks as though we need something from outer space, something alien and a close encounter as well as something slightly exotic here on earth which will finally give us a warm glow as everyone is reconciled, Stitch saves Lilo and the day and we appreciate what it is to be nice and human.

And, of course, this is what happens.

The film-makers stress that the quality that really appealed to them in Hawaii was what the locals call 'ohana', which means a sense of family. Lilo has to learn to love Nani so that they will not be a broken family. Stitch is all alone and what he needs to learn is to belong to a family.

Along the way, we are treated to some exotic characters from the galaxy, including Pleakley, a one-eyed, three-legged expert on Earth and Cobra Bubbles, an ex-CIA operative who has become Lilo's social worker. Nani's boyfriend, David, is a perfectly ordinary surfer who does fire-eating stunts which literally bring part of the house down.

What is attractive about Lilo and Stitch is the use of water colour backgrounds and drawings rather than computerised characters. Lilo idolises Elvis, so there is a pleasing soundtrack of his songs.

The publicity says the film is charming and delightful. I hope that Lilo and Stitch entertains the family audience, but I wouldn't be too sure.