PERSONS UNKNOWN

US, 1996, 99 minutes, Colour.
Joe Mantegna, Kelly Lynch, Naomi Watts, J. T. Walsh, Xander Berkeley, Jon Favreau.
Directed by George Hickenlooper.

Person’s Unknown is a crime drama with some unanticipated complications from its characters.

The initial focus is on a former policeman, played by Joe Mantegna, who has drunkenly killed a bystander at the time of his wife’s giving birth. He has appeared in the courts and has left the force, running a security company, but keeping in touch with former connections and police officers.

He has a one night stand with a drug addict who robs him. He uses a connection to find out about her, follows her, sees her with her disabled sister and a group who commit a burglary on a drug dealing group. He is attracted to the disabled sister and offers shelter to the women from the police and from the drug dealers.

The drug dealers follow, assisted by one of the police, and the drug addict sister is killed – and, in a siege, the former policeman is shot but the disabled sister is able to shoot the assailants, including the police officer.

In many ways, ordinary material, but made interesting by the cast, with Kelly Lynch as the addict, Naomi Watts as the disabled sister, J. T. Walsh is a corrupt policeman and a small initial role for Jon Favreau.

1. A crime drama? Psychological drama?

2. The title, expectations, the reference to unknown criminals? The ordinariness of criminals and some anonymity?

3. Los Angeles, the city, the world of business, the world of the police, drug dealing, robberies? The surrounding countryside? The musical score?

4. The introduction, Jim, as a person, the encounter with Amanda, the pickup, the night, the intimacy, her stealing his wallet? His past, in the police, drinking, his wife and child, the accident and the death of the man, the court case, the reports in the newspapers, his being dismissed, working on security, a new life? Yet his contacts, getting information, Tosh, with Cake?

5. Amanda, her relationship with Molly, sisters, their background and memories, Molly and her accident, in the wheelchair? Amanda and her involvement in drugs? Jim helping Molly, lifting her, the attraction?

6. Jim on the information, the set up, watching the group, the man disguised as a policeman at the door, knocking, the group inside, Molly sitting in the car and supervising? The man inside dancing and not hearing? The entry, taking the money, the shooting and the death of the man? The aftermath and the death of the two in the team? Amanda, her exhilaration, the fact that they achieved what they intended?

7. Tosh, the contacts, getting the information, the continue discussion with Jim, his advice?

8. Cake, his role in the police, the drug case, the issue of the robbery of the cash, the Colombian thugs, searching, tracking down the thieves?

9. Jim, helping Molly, Amanda and her reactions? Her puzzle? The clashes? The plan with the money? In the plastic bags?

10. The thugs, the buildup, the pursuit, characters and violent outbursts? Cake helping?

11. Jim buying the boat, offering to take the women to Mexico, the thugs pursuing, the going to the country? Out of town? Molly and the quiet times with Jim, talking? Amanda energy, going out, the walk, the encounter with the dealers, their pursuit, her reaction, her death?

12. Molly as a character, the experience of the accident, her bond with Amanda, her control?

13. Cake, the thugs, the violence, the chase, the threats, going to the house? Jim being hit, Molly with the gun, shooting? Cake and the confrontation and his death?

14. The persons unknown, the story of their journey centred on crime, the psychological journey, the moral/amoral journey? Future?

THE HUMMINGBIRD TREE

UK, 1992, 85 minutes, Colour.
Patrick Bergin, Susan Wooldridge, Tom Beasley, Desha Penco, Sunil Y. Ramjitsingh, Clive Wood.
Directed by Noella Smith.

The Hummingbird Tree is based on the novel by Ian Mc Donald. It offers the opportunity for audiences to have a look at something of life in the West Indies, in Trinidad, after World War II, in 1946 as well as to think about various colonial issues.

The story is told from the point of view of a 12-year-old boy who has lived in Trinidad all his life. His parents participate in the colonial life of Trinidad, his father initially seeming more adaptable, especially for people who have migrated from India to work on the plantations. The parents are played by Patrick Bergin and Susan Wooldridge. The young boy, Alan, is played by Tom Beasley.

Trinidad is about to have the first free elections with the various campaigns, from the point of view of rather arrogant British colonial candidates, from local candidates, as well as issues for the Indian migrants.

Alan is at a white school and the children, who are at his birthday party, sing songs which are derogatory of the locals. But Alan is very good friends with Kaiser, who is intended to work on the plantation, and a young girl, Jaillin. There are complications when the children are not allowed to his birthday party, when Alan goes off one evening and does not return time and goes bathing in the sea with them.

The family is Catholic and Alan goes to mass and he hears a very strong political sermon from the local priest, Niall Buggy, very critical of the Hindus, their religion, and staunchly urging the congregation not to vote to promote them. There is a rather colonial Catholicism in his perspective which is echoed by Alan.

The film has an epilogue where the older Alan comes back 10 years later, encounters Kaiser who is drinking, has become a Catholic, has been educated and is looking down on other locals, as well as Jaillin who has developed an animosity towards white people and is working suspiciously in the town.

A different picture of British colonialism and its impact.

1. A film about the British Empire, the West Indies, Trinidad, post-World War II, colonialism, free elections, consequences?

2. The West Indian settings, the affluent homes, the local villages, the fields and crops, the town, the beaches, the water? The musical score?

3. The use of popular American songs of the time, with the West Indian rhythms and lyrics?

4. Alan’s story, 12 years old, living in Trinidad all his life? His father and his position, land, politics? His mother, her colonial attitudes? The strictness of the household? The boy the only son? The white schoolmates and his playing with them, his birthday party, their scornful singing songs against the Indians? His being more at home with the locals, their Indian background, Hindu background, Kaiser and his friendship, Jaillin and his attraction towards her?

5. The political background, the British ex-patriots, their snobbishness, Ross and the hitting of his car and his condemnations? His political stances? He’s not getting the votes? Alan’s father, politically, the speeches, the importance of the elections? The first vote for the locals? The issue of work, the burning of the crops?

6. Alan going to mass, the parish priest, his political sermon? Talking of the darkness of Trinidad, the elections is a milestone, not supporting people who had 100 gods and allegedly believed in unity? The symbolism of the Eucharist, bread, not mangoes, his comment about worthy and unworthy vessels? The Hindu gods never sacrificing as Jesus did? His comment on the rallies in Port of Spain, the Christian rally, being set upon by the Hindus? The Hindus and their hearts in another distant country, hot, the Hindu league? Saying that God was love but there was no doubt that not voting for the Christian candidates would endanger immortal souls?

7. The scenes of play, 12-year-olds, the three, Kaiser and the intention of his working on the plantation, Jaillin and her family, the servants in the house, the birthday party, the cake, kissing Jaillin? Who going to mass? The statue of Mary and the answer to prayer is? The issue of becoming Catholic, Catholicism is the only faith, Hinduism being he is in? The scene in the water, Jaillin without her clothes, Alan’s father searching, coming out of the water shielded by Kaiser?

8. Alan, his age, growing up, his background, changing his values, especially race and religious attitudes?

9. The finale, his return, encountering Kaiser, Kaiser drunk, becoming a Catholic, educated and looking down on ordinary work, talking about Jaillin and her work in the city? Bringing him home, the talk with Jaillin?

10. The importance of the elections – but the detrimental consequences for all concerned?

TWIN HUSBANDS

US, 1933, 68 minutes, Black-and-white.
John Miljan, Shirley Grey, Monroe Owsley, Hale Hamilton, Wilson Benge.
Directed by Frank R.Strayer.

Twin Husbands is more entertaining than it might have been. It is a short supporting feature, running just over an hour, very strong on dialogue, more like a theatrical piece, and confined in its action to a few rooms – with a scene with a car to open things out.

What is interesting is the number of twists and the revelations about characters.

It begins something like an amnesia drama with a man waking up and being told that it is four years later, talking with the butler and finding out something of the truth, that it is a set up. In fact, it is a plan to retrieve the bonds by a wife and private secretary from a wealthy man flying in South America. The amnesiac soon discovers something of the truth, finding that the butler is an actor, planning with him to deceive the wife and the private secretary – as well as the financial manager of the estate, accepting the bonds and signing for them.

Two thieves arrive and reveal that the amnesiac is in fact a top safe cracker, Sparrow. Then the police arrive and take away the wife – only for her to find that she is in the apartment owned by Sparrow and that the police are his men. Finally, the actual police arrive and confront the private secretary. In the meantime, the wife has discovered the truth about the embezzlement by the financial manager and has returned to the house. The actor-butler has been trying to escape but is kept back by the police.

When the amnesiac and the financial advisor go to the office of the secretary, they find that the wealthy husband has died in a plane crash and that the wife and the secretary had planned to take the money and escape to South America.

There is a final confrontation, the secretary let off by having to agree to be in need of psychiatric care and being paid off to go to South America by himself and disappear. The actor-butler gets good payment – and there is a touch of romance in the air at the end.

The films directed by Frank R. Strayer, director of many similar kinds of films in the 1930s but moving towards religious themes at the end of his career in the late 1940s, especially with such films as The Pilgrimage Play.

xXx: THE RETURN OF XANDER CAGE

US, 2016, 107 minutes, Colour.
Vin Diesel, Donnie Yen, Toni Collette, Samuel L.Jackson, Ice Cube, Deepika Padukone, Kris Wu, Ruby Rose, Tony Jaa, Nina Dobrev, Rory McCann?.
Directed by D.J.Caruso.

Satellites circling the Earth, one catching fire, plunging down into Hong Kong, enveloping Samuel L. Jackson in flames – action-packed beginning and, by and large, it doesn’t let up, certainly a strong fix for any adrenaline junkies. Then there is an extraordinary raid on a CIA meeting, athletic agents leaping from building to building, using all kinds of martial arts techniques, shootouts, rather large body count, except for Toni Collette as the steely and ruthless head of the xXx program once presided over by Samuel L. Jackson.

By this stage, the word that leaps to mind is “absurd� – and that really doesn’t go away. And, while there is a focus on an American intelligence agency, “intelligent� is not a word that leaps to mind.

Then there is Vin Diesel high on the transmission tower in the Dominican Republic, set upon by military, leaping off the tower, going down a cliff, landing with skateboards on rough terrain, down the mountains, eluding pursuit, and why? Because the authorities had switched off transmission for the television play of a football match – the gratitude of a nation!

And, on it goes, with Xander Cage (absent from the last xXx adventure with Ice Cube – spoiler, he does make a reappearance!) with Cage being hired by Toni Collette to track down Pandora’s Box, a device to control satellites and make them crash.

And, where is the gang who stole the books in the first place – in the Philippines! So, off to the Philippines, the whole area of illegal action that President Duterte might care to look into, and then, some more slam bang action as the military attack, Toni Collette in command. Despite the fact that most of the characters are introduced with some information, generally of a sardonically comic kind, ordinary citizens may find it very difficult to work out who exactly is who and on whose side they are, especially as a number of them change sides throughout the film!

And then on to London.

Cage is not very happy with Toni Collette and the military types that she has organised as his backup, so what is he to do! Bind them altogether, open the rear door of the plane and let them fall out… Fortunately, or unfortunately, they survive which makes them available for a final confrontation with Cage (spoiler – which they lose). This was unexpected as they thought they had shot him but nothing like some good body armour – and he goes out the back of the plane hanging onto a box and just releasing the parachute in time for a safe landing.

Actually, he recruits his own team, including a very tough woman who is on safari in Africa with lions in her sight but actually firing at hunters and poachers. She has an opportunity for some very accurate firing. Then there is the computer nerd, a pleasantly comic and attractive character who, to her final satisfaction, does get to handle a machine gun. Enjoyable is the big stunt driver, a Scotsman, who is desperate to chalk up his 200th crash, get it on video – and achieves it in spectacular stunt work.

The film is been financed by Shanghai movie company so Donnie Yen is there (after his turn in Rogue One) and Thai champion Tony Jaa, blonde haired and athletic, gets a chance to be active.

There is, of course, a political twist at the end, and a dramatic twist which indicates that you really can’t kill off an important security figure.

If this film makes money, and that will depend on the fans and their acceptance of the credibility of plot and characters, which is dubious, then there will be the return of the return of Xander Cage.

VICE SQUAD

US, 1953, 89 minutes, Black and white.
Edward G. Robinson, Paulette Goddard, K. T. Stevens, Porter Hall, Adam Williams, Edward Binns, Barry Kelley, Lee Van Cleef.
Directed by Arnold Laven.

In the television era, there have been so many series, often based on real-life, of police precincts, of cops and their daily rounds…

This film comes from the years when television was developing and there was still room for a movie about a police precinct. This is a day in the life of…

It opens with some action, criminals stealing a car, confronted by the police, the shooting, a timid funeral director having a rendezvous at a brothel being the witness. It emerges that the criminals are planning a bank robbery.

All is well with Edward G. Robinson in charge, a no-nonsense officer, sympathetic to the people he meets, shrewd in his assessment of characters, effective in action. He has a staff of officers who do interviews, go out on the beat, do door-to-door investigation – though none of the characters emerges as more significant than another.

An informer lets the chief know that there is a bank robbery in plan, to be carried out by the criminal who did the shooting of the officer. This means that the police can plant undercover officers in the bank and thwart the robbery. Acting on the word of the informer as well as information from the Madame from an escort service (legal), Paulette Goddard in a tough role, they are able to track down an associate and put pressure on him, get the fearful funeral director to identify the shooter, and finally roundup the criminals in an abandoned warehouse where they have taken a hostage from the bank.

There are a couple of other cases including a fake count and a paranoid man who feels that he sees television images all over him in the street – recommended to find a witness, the suggestion being the psychiatrist at the hospital.

The director is Arnold Laven, his second film, who also directed the Paul Newman Korean film, The Rack, as well as Slaughter on 10th Avenue. However, his main work was in television for over 30 years.

1. Life in a precinct? The 1950s? Police precincts and personnel at the time, organisation and management, detection, stakeout, arrests? A day in police life? The later television series by comparison? Black-and-white photography, sense of realism?

2. Los Angeles, the city, streets, the bank, apartments, hideouts and warehouses, the interiors, on the water? The musical score?

3. The setting of the scene, Barkis and Pete Monte, stealing the car, the police observing, ringing in, confrontation, the murder? The funeral director, his rendezvous with Vicki, telling his wife he was out of town, being a witness, the policeman’s call for help, his going over, being taken by the police?

4. Edward G. Robinson as Barney, as a person, in charge, efficient, relating to the authorities, Ginny as his assistant, with the other police, arriving, beginning the day, at his desk, the calls, the cases? The wounded policeman in hospital? His concern?

5. The range of police, the officers, identifiable but not standing out? On the job, interviews, with the suspects, on-the-job, investigations, skills, use of guns?

6. The guns, American police, the shootouts?

7. Barney and the television interview and having to leave early?

8. Barkis, being in prison, out, the connection with Marty, collaboration with Pete, the other members of the gang? The murder, the meeting in the planning of the robbery, Marty not feeling it was right, but staying? The discussions, the practicalities?

9. The informer, in handcuffs, his memory lapses and remembering, the information about the bank plan? The police going to the bank, undercover and security?

10. Mona, a character, her escorts, legal, giving information, the phone calls to Barney, the delays, his getting her picked up, her getting the information?

11. The funeral director, deceiving his wife, apprehensive, wanting his lawyer, his fears, the lawyer and his advice, that it was too dark to see, getting out, the setup for the assault on the policewoman, in and out of the precinct, his possessions, signing documents, the exasperation of the lawyer, confronting Barney? The funeral director transferred, to confront Marty, his finally getting away? The relationship with Vicki, the police asking her mother, her buying the fur, being taken in, the pressure on the funeral director because of her presence?

12. The story of the count, the woman apprehensive about her mother being deceived, his being taken in on identity issues, the police hospitality, lunch, ringing in the expert, exposing him as a fake? His wanting the fare back to Chicago?

13. The case of the man in the street, the television putting shadows all over him – Barney’s gentle handling of the case, advising him to get the doctor at the clinic as his witness?

14. The robbery, being interrupted, the shots, Pete in the car and the escape, his getting the boat, caught, Barkis taking Carol as the hostage, her parents fear and Barney’s working with them, in the warehouse, Pete getting the boat?

15. Carol, getting free, the pursuit in the dark of the warehouse? Marty in the interrogation, his giving information? Barney saving Carol? Confronting Barkis and the shooting?

16. The end of a day’s work?

BALLERINA

France/ Canada, 2016, 89 minutes, Colour.
Voices of: Elle Fanning, Dane De Haan, Maddy Ziegler, Carly Rae Jepson, Kaycie Chase.
Directed by Eric Sommer, Eric Warin.

Ballerina is a French- Canadian coproduction, with attractive animation, France in the 19th century, Paris and its streets in the river, the Eiffel Tower in construction, the Statue of Liberty in construction, and the Paris Opera house. There are also scenes in the countryside, especially a stately building serving as an orphanage on the coast.

The film is clearly aimed towards a children’s audience, especially young girls who have aspirations to be dancers or ballerinas – and their devoted mothers. There is a rather lively young boy who might make the film enjoyable for a boys’ audience (or not).

Felicie is a feisty young girl at the orphanage, dreaming to be a dancer, with a music box that was left with her by her mother at the orphanage door. She is friends with Victor who wants to be an inventor. There is a ferocious superintendent, and a nun looking like a Daughter of Charity who tut-tuts and has a very bleak outlook on the realities of life.

In some slapstick comic scenes, with Victor disguised as a nun and a chicken under his habit for a bosom, with wings he invented, on an off wagons, careering and crashing, the couple eventually arrive in Paris but are separated.

This is mainly Felicie’s story, and she finds the building, is ousted by a toothy guard, encounters the cleaner who helps her but wants to get rid of her. Nevertheless, Felicie perseveres, helps with the cleaning, experience the haughty Madame and her snobbish daughter who also wants to be a ballerina. Felicie is given a letter by the postman with the invitation for the daughter to go to the dance school but Felicie goes instead, knows nothing of the movements or what is required of her but, with the cleaner’s help, is able to make an impression, even reaching the final for the audition to take a starring role in The Nutcracker, the snobbish girl being her rival.

Actually, not all plain sailing. Felicie does not win the audition and is bundled back by the haughty Madame (the equivalent of the witch in so many animation stories) and has to escape from the orphanage again, this time on the back of the motorbike by the once aggressive supervisor.

In the meantime, Victor has a job on the Eiffel Tower and is busy trying to develop wings for flight.

This all comes to a head, Madame threatening Felicie on the Statue of Liberty, Victor flying to rescue Felicie and confronting Madame.

Fortunately, there are some changes of heart at the end, and Felicie is able to demonstrate her dancing agility and her passion which leads to a satisfactory happy ending.

A bit of a difficulty for the historically-minded is that the setting is 1887, the beginning of the building of the Eiffel Tower, and The Nutcracker was not performed until 1892. The Statue of Liberty was dedicated in the US in October 1886. And the orphanage superintendant rides a motor bike!

Much more enjoyable than anticipated.

1. French- Canadian animation? The universal appeal, characters, situations, music and dance?

2. The animation style, the colour, the visuals of the orphanage, exteriors, interiors, mansions, the dance Academy, the characters? Attractive? The touch of the villains with the caretaker, the superintendent, the nun?

3. The range of music, the use of the classics, Tchaikovsky and Swan Lake, the Nutcracker? Contemporary music and songs?

4. The appeal for young audiences, Victor for the boys, Felicie for the girls? The ballet for the girls? Orphans, dreams, hopes, experience of oppression, freedom, achievement, help, mistakes, overcoming mistakes, winning?

5. The title, Felicie, her age, at the orphanage, left with her music box, treasuring it, the dream about her mother as a dancer? Wanting to escape, with Victor’s help? Victor
disguised as the nun? The chickens, his wings and flying? The journey, the pursuit, the wagon, the crashes? Paris, exploring, their separation, the rendezvous, Felicie finding the Academy, the hostility of the guard, encountering Odette, Felicie following her, Odette sending her away? Felicie offering to clean with Odette, squeaky clean? The work together, her incessant questions? At the mansion, the haughty mother, her rudeness and exploitation of Odette? The daughter and her snobbishness, the dancing and her ambitions? Her throwing away the music box? And Victor fixing it – twice? Felicie taking the letter, pretending to be Chloe, at the rehearsals, her ignorance? Odette supporting her? Teaching her? Learning, meeting Victor?

6. Victor, wanting to be an inventor, his trying wings? Disguised as the nun, the literal ups and downs of the journey? Fixing the music box? The pigeons, falling on the boat, meeting the boy continually eating, the building of the Eiffel Tower, getting work, meeting Felicie? Wanting to take her to dinner, his being stood up, hurt? The ballet rival? Felicie’s apology, the music box? Hiding in the box and Felicie’s apology? The finale with the wings, the rescue, the confrontation with the haughty mother? The kiss?

7. Odette, the former dancer, her injury, her life, cleaning, her poverty? Madame, haughtiness and harshness? Odette and the shoes for Felicie? Felicie, being late for the rehearsal and audition, Odette upset? The reconciliation at the end?

8. The staff, the severe guard, the boisterous designer, the instructor and his expertise, responding to Felicie, the choice between her and Chloe, Nora being rejected? The auditions, Felicie being late, falling? His seeing her leaps and display? Giving her the part?

9. Madame, the significant witch figure from animation films? Treatment, at the audition, Chloe and her snobbery, arrogance, despising Felicie, destroying the music box? Her change of heart, congratulating Felicie, the only answer for the instructor was that she danced because her mother told her to?

10. Madame, consigning Felicie to the orphanage? Her attack on Felicie, the Statue of Liberty, climbing, Victor and his wings, her entanglement and comeuppance?

11. The nun, tut-tutting, her harsh attitude towards real life?

12. The Russian boy, skills, dating, fighting Victor? Felicie, late, falling, her apology, Odette helping her, the shoes, Chloe’s support, dancing with the prima ballerina?

13. A pleasing film, children, dreams and hopes, achievements, barriers, success?

I AM SUZANNE

US, 1933, 98 minutes, Black-and-white (pink tint).

Lillian Harvey, Gene Raymond, Leslie Banks.
Directed by Rowland V. Lee.

I Am Suzanne was directed by Rowland V. Lee, who was to go on to make The Count of Monte Cristo as well as other historical dramas and The Bridge of San Luis Rey.

The film has Paris settings and is confined to interiors, of the puppet theatre, of a large Parisien showcase, of a hospital. The film also has a pink tent throughout – perhaps in the spirit of the character of Suzanne.

The film is notable for its puppets, from the Yale Puppeteers, quite an amount of the running time spent in the portrayal of puppet shows, basic shows, more elaborate, and then the recreating of the showcase extravaganza with puppets. There is also a dream sequence of a nightmare trial for Suzanne and the central characters performing as puppets. For those who enjoy watching puppets, this film is essential.

Lillian Harvey is Suzanne, an athletic singer dancer in the show, under the power of the Svengali -like Baron, played by Leslie Banks, and guided by the other member of the team whom she calls Mother.

Suzanne is successful in her performance, the audiences loving her, but her life confined and her not being encouraged to an emotional life – until she encounters Tony, the son of the puppeteer, Gene Raymond, who is infatuated with Suzanne, wants to make a puppet based on her with performances based on her act. There is potential tragedy when she falls from a high wire, is hospitalised, Tony wanting to help, persuading the doctor to assist by entertaining the ill children in the hospital with the puppets. He is able to give advice to the doctor because of his knowledge of limbs and movements.

While there is potential for a happy ending, it does not happen so easily, with the Baron trying to take control again of Suzanne, Suzanne realising that Tony is in love with the idea of Suzanne and her embodiment in the puppet, and, after her nightmare, she realises her love and expresses it to Tony – happy ending.

1. A rather different film from the early 1930s? Drama, romance – and the world of puppetry?

2. The Paris settings, the marionette theatre, the large musical theatres, auditorium, dressing rooms? Apartments? The musical score, the songs?

3. Black-and-white photography – and the effect of the pink tint?

4. The skill of the puppeteers, so much attention in the film given to the puppets, their performances, shapes and sizes, movements, expressions, the puppeteers and their manipulations, the range of voices? The spectacular shows?

5. Tony, his family, puppeteers, their skills, making the puppets, the small audiences? His going to the large theatre, the initial encounter with Suzanne? Mother dropping the money? His going backstage, the encounter with the Baron, hostility? Returning the money? His returning to the theatre, trying to meet Suzanne? The attraction? His going to the apartment, the puppet dangled from the skylight, his coming in, doing the sketches, the variety of limbs and movements and expressions? Being caught by the Baron?

6. The Baron, control, sinister intentions, money and taking the cut from the others? His attitude toward Suzanne, making her work? No breaks? No romance? His scheme, the proposal, the pressure on her acceptance? His relationship with Mother? Mother and her training Suzanne, the rehearsals? Sympathy for her emotional life?

7. Suzanne, the next encounter with Tony in the theatre, her fall from the wire, in hospital, recuperation, Tony wanting to help, the doctor being busy, Tony bringing the puppets, entertaining the children, the doctor agreeing to treat Suzanne? Tony and his advice, knowledge of limb movement? A gradual recuperation, able to stand on her feet, the possibility of dancing again?

8. In the meantime, Tony making the puppet, the family response? The performance in the theatre, the copying of the winter act from the big theatre? The crowds? Suzanne, her participating as a puppeteer, her life changing?

9. The Baron, the new girl, her failure to measure up to expectations? Planning for Suzanne to make a comeback? his going to the puppet theatre, the entrepreneurs and their interest?

10. Suzanne, thinking Tony was interested only in the puppets, her puppet rather than herself, his kissing her, his regrets? Her nightmare, the trial, the witnesses, a dream extravaganza? Her response, going back to Tony, his response an apology? The Baron and his financial deal? The theatre and happily ever after?

THE SPANISH CAPE MYSTERY

US, 1935, 73 minutes, Black and white.
Donald Cook, Helen Twelvetrees, Berton Churchill, Frank Sheridan, Harry Stubbs, Huntley Gordon.
Directed by Lewis D. Collins.

This is an early Ellery Queen mystery. He is played by Donald Cook. The film opens with his father investigating a robbery, calling in his son, who very quickly solves the case by explaining that the jewel thief, expecting to go out the front door of the shop and transfer the necklace to his accomplice, went out the back door and slipped the necklace into the jeweller’s pocket!
Then he goes to California with a judge friend for a holiday and immediately finds a woman tied up in the house they are to rent. There has been an abduction, followed by a murder, with a bump vicious local sheriff vainly thinking he has solved the case, several times, accusing each member of a family in turn and thinking they are the murderer. He is introduced to Ellery Queen, has read his work, but says that that is all theoretical and he works on evidence.

There is a very rich family assembled, in order to contest a will, the various members of the family or claimants being killed. The father of the family thinks that they are all sponges. He is accused, his wife is accused, even the woman tied up, the daughter, Helen 12 trees, becomes a suspect.

Ellery Queen can be quite sardonic in his remarks, mocking the sheriff, attracted to the young woman, sparring with his judge friend.

As the victims increase, and the staff are all called in to give testimony, especially a snapping butler, the detective works out whodunnit and sets the young woman up to trap the killer – who turns out to be the mad uncle who was abducted, who wants to eliminate all the claimant so that he could can get the money himself.

In many ways, this is a very old-fashioned whodunnit, in the style of the 1930s with books by Girls Stanley Gardner, Agatha Christie and other writers.

Of its time, entertaining.

BOOMERANG

France, 2015, 101 minutes, Colour.
Laurent Lafitte, Melanie Laurent, Audrey Dana, Wladimir Yordanoff, Bulle Ogier.
Directed by François Favrat.

Boomerang is not exactly the right title for this film.

It is a very French story about family, relationships, secrets and lies. It is well written, well acted and keeps the interest.

The focus is on a sister and brother, Melanie Laurent and Laurent Lafitte, involved in a car accident as they squabble about the mystery of the death of their mother 30 years earlier.

The focus is on the brother, Antoine, going to a therapist who urges him to talk to his father, his reluctance to talk, his eventual being rebuffed – and his own difficulty with his wife and communication with his daughters. His sister is less interested in probing the truth, she being five when the events happened.

Antoine is spurred to investigate after he visits the morgue at the hospital in the aftermath of the accident, meeting a sympathetic thanatologist with whom he begins a relationship. He speaks to the couple who looked after them when they were children and finds that they were holding back, his father reluctant to talk about the events, his grandmother forbidding it.

Through an inscription on a watch, he discovers a woman in England which leads to the revelation of a relationship between this woman and Antoine’s mother, the severity of the grandmother about the relationship, the frustrations and the mother driving across a gap between the mainland and an island and losing her life.

There is a complication with Antoine’s older daughter and a lesbian relationship.

There is a satisfying happy ending, truth being told, but the woman in England sending some video of the mother and the two children walking along the beach, pleasing images to settle the brother and sister.

1. A film about family, relationships, mystery, secrets, uncovering secrets, peace?

2. The French setting, the towns, the streets, hospitals, the morgue, homes, therapy offices? The countryside? The sea, the passage to the mainland? The musical score?

3. The title and its significance?

4. The opening, Antoine and Agathe, in the car, the discussions, memories, irritation, speed, overtaking, the crash? The consequences? Hospital, injuries, recovery? Antoine in the hospital, visiting the morgue, memories of his mother’s death?

5. Going back in time? The situation about their mother’s death? Antoine and his wanting to know? The secrets, the urging of his therapist to talk with his father? Agathe and her wanting to let things be?

6. Antoine, his age, his marriage, separation, the daughters, unpacking, communicating with his wife? Difficulties with his older daughter? His relationship with his sister? The tension with his father, the father not talking? The mystery of the death of his mother? 30 years earlier? His difficulty in relating to his stepmother? The visits to his grandmother and bonding with her?

7. Agathe, her work, editing, serious, the result of the crash? Partly interested in the mystery, she and her brother visiting Bernadette, the husband, the edge in what they told them? The later revelation after the grandmother’s death, that the grandmother had forbidden them to speak, their feeling that they should unburden themselves? Telling the truth?

8. Antoine, the tension with his father, outburst at home, at meals, Christmas? The father’s reaction? The stepmother trying to keep peace? The role of the grandmother? The portrait of the family and its tensions?

9. Antoine, the morgue, the woman working there, friendship, going out, the attraction, her going home with Antoine, the relationship, her support of him in his quest? Her story of her work consequent on the suicide of her father? Her being comfortable with his daughters?

10. The watch, the inscription, the explanations? The discovery of the real Jean? The visit to England, her work, lesbian, the memories? Her explanation of her falling in love with their mother? The visits, the flashbacks, the visuals of the children and the mother on the beach?

11. The grandmother, her disapproval, denunciation? Wanting to protect the children? The children with Bernadette and her husband? The mother, writing the letter, its being delivered by Bernadette? Bernadette’s return, the mother wanting to go to Jean at the hotel, the tide, the crash? His mother ringing Antoine’s father, his coming, the crashed car? The finding of the body?

12. Antoine, the photo of his mother with Jean, giving it to people of the party, the angry reactions?

13. Antoine’s daughter, lesbian relationship, difficulty in talking to her father, saying that he did the same to her as his father did to him in not talking? Her confiding in Agathe?

14. Agathe and Antoine, her inviting Antoine to talk to his daughter, the reality about their mother?

15. The funeral, the priest, support, Agathe and her eulogy, breaking down, criticism of her grandmother, of her father?

16. The father, his apology, admitting the truth? The hold of his mother over him?

17. Jean, sending the video material, and the couple happy to look at the scenes with their mother on the beach?

18. Secrets and lies, opening up, therapy, truth, reconciliation?

THUNDER IN THE CITY

UK, 1937, 85 minutes, Black and white.
Edward G. Robinson, Nigel Bruce, Constance Collier, Luli Deste, Ralph Richardson, Elizabeth Inglis.
Directed by Marion Gering.

This is a little-known Edward G. Robinson film, made in the mid-1930s, in England, small-budget and away from Warner Brothers. It should be essential viewing to see him in a more ordinary, non-gangster role – as well seeing him as the kind father in Our Vines have Tender Grapes. It is also interesting to see him in a dramatic clash with Ralph Richardson.

The film is enhanced by the presence of Nigel Bruce and Constance Collier as an impoverished Duke and Duchess – before Nigel Bruce became Basil Rathbone’s Dr Watson. Austrian actress Luli Deste is not particularly convincing for the reasons for her having an accent. Elizabeth Inglis portrays the young woman in the impoverished family – later to become the mother of Sigourney Weaver.

It has been suggested that this is a kind of Madison Avenue meets London City film, opening in New York with some ballyhoo promotion for a company, blimps and aerial trapeze acts, with the company disapproving of its lack of dignity and suggesting that the advertising manager, Robinson, go to England. His grandfather was the black sheep of the family so off he goes, immediately being an entrepreneur in the street as he listens to a young woman singing and collects money for her.

His relatives are very snooty but want to sell their mansion to get some money, with the help of banker Ralph Richardson. Robinson is full of enthusiasm for England and is soon involved in the scheme to raise money to start work in Rhodesia in a mine for magnalite.

His zest communicates to the press, he gets everybody employed, with a theme song, raising £1 million for the venture – only to find that the banker has bought the processes created by a French scientist.

Robinson graciously bows out, winning the admiration of everyone, not letting them lose anything of their investment – more than a touch of the Frank Capra optimism of the period.

1. Edward G. Robinson in the mid 1930s, his reputation for gangster films, his participation in a British comedy drama, his being able to portray a more ordinary American?

2. A British production, the opening in New York City, the skyscrapers, industry offices, the blimps and trapeze acts? The transition to London, the city, the countryside, the mansion, interiors and exteriors, the local fair? The visit to France? The musical score?

3. The title, appropriate or not? Indication of theme or not?

4. The introduction to Dan Armstrong? Fast talking? Advertising? His hunches? The blimp? The stuffy Americans, wanting him to absorb British dignity? Losing his job? His kindness to his assistant, the gift, the handkerchief? His going to England?

5. His background, the black sheep, taking the money, going to America, in jail? Dan interested in his background?

6. His philosophy of life, hunches, ballyhoo, the American Madison Avenue mentality? The encounter on the streets with Edna, Billy, her singing, the collection, getting her money, moving the piano to the hotel, her singing? The arrival of his relatives?

7. The relatives, the mansion, no money, wanting to sell? The financial advice of Manningdale? The discussions about money, their snobbery, Americans? The decision to sponge on Dan, going to the hotel? The invitation to the country home?

8. Dan, enthusiastic, on the train, speeds, hands-on? Meeting the family, impressed by the mansion, his room, the jokes about the distance to the bathroom, his getting lost with all the doors? Encountering the Duke and Duchess, playing darts? Their friendly welcome? Patricia, on the horse, danger, falling off?

9. The meal, his talk, enthusiasm? The relatives wanting to sell their house? The discussions with Mnningdale? Patricia giving the information, the Magnalite mine? Playing darts with the Duke, the plan, going to the fair, winning all the trophies, the Duke enjoying himself, away from his wife? On the merry-go-round? Dan persuading the Duke to sell? The return, waking up Patricia, the plan? Manningdale and his reaction? His plan to marry Patricia and her parents wanting this, and her wanting to marry for the money?

10. Dan, back to London, the phone calls to the press, the press conference, reading the article, repeating the information, Magnalite as the wonder mineral? For planes? For the future?

11. Employing everyone, Patricia and her friends, in high society, with ordinary people, the sales, the investments, Edna and Billy and their singing the company song? Showing all the money coming into £1 million?

12. The office, Duke and Duchess wanting their offices? The promotion of the mine, Rhodesia, the plans for development?

13. Manningdale, going to France, the launch of the company and the ballyhoo? Dan going to France, the scientist, his having sold his processes to Manningdale?

14. Dan, defeated by Manningdale, going to discuss with him, the possibility for everybody to lose their investment, the reaction of the media? The visit of the American boss and his wanting to invest?

15. Dan and his discussion with Manningdale, his being willing to do the honourable thing, to sell, for Manningdale to win?

16. The reaction of the people, their gathering to welcome him at the airport, his doing his best – and going to Vienna, Patricia with him?

17. The atmosphere in the 1930s, post-depression? England in the US and business, finance? And the overtones of the Frank Capra stories of the period, more optimism in human nature?