THE BORROWERS

UK/US, 1997, 89 minutes, Colour.
John Goodman, Mark Williams, Jim Broadbent, Celia Imre, Flora Newbigin, Tom Felton, Bradley Pierce, Raymond Pickard, Hugh Laurie, Ruby Wax.
Directed by Peter Hewitt.

For some moments this seemed to be an icky American family movie, but then the Borrowers, led by Jim Broadbent, turned up and the film took off on an intriguing and entertaining life of its own.

The Borrowers are little people (with English accents) who live in houses and 'borrow' what they need for living. But horrible John Goodman (in an excellent villain turn as a lawyer ousting a family - and the Borrowers - from their house) and an assorted array of eccentrics (pest-control Mark Williams, Hugh Laurie as a policeman, Ruby Wax as a receptionist) keep the pace rolling.

Plenty of action and comedy, and a fantasy urban backdrop all contribute to enjoyable family fare.

1. A popular story? The variety of film and television versions? The original novel? The various films and adaptations and changes in the plot?

2. The setting, more than a touch British, more than a touch American? The visuals, the design, the vistas? A fantasy city? The details of the houses? The streets? The musical score?

3. The international cast? The blend of American and British? The Borrowers as British?

4. The couple, their house, having to move, packing up? The personalities of the parents? Pete, his age, noticing things missing, his parents eventually agreeing?

5. The borrowers, their size, mini-humans? Living in the house, not knowing any other Borrowers? Taking things, “borrowing�? The little hooks, the strings to get down, their activities? Pod Clock, the father, his manner, benign, love for his wife, Homily, harassing on him? The children, Arrieta and her age, adventuresome? P Green, younger, getting into trouble? They’re being seen by Pete?

6. The move, Pete and his finding the Borrowers, explaining the situation, their fears, his arranging the move? The container, in the back of the van? Just getting out of the drive, the children falling out into the street? The panic of the parents? P Green and his falling in the dog poo, the wheel going over? Arriettey rescuing him?

7. The right of the house, Pete discovering the truth, putting the parents in the container, cycling back to the house?

8. Potter, John Goodman’s presence, the lawyer, wanting the house, trying to destroy the will after finding it in the safe, unable to set it alight? Arriettey and Peagreen and their return? Seeing Potter, taking the will and hiding it? His plan, the stethoscope, listening into the wall, trying to catch them? Inviting the exterminator? His techniques, the phone in the wall, on Potter’s face, the mask, pulling it off and his red face? The exterminator and is trying to help? The tools?

9. Arriettey and Peagreen, being pursued, the dangers in the house from Potter? The getting out? Riding in the cable car vehicle? Spiller turning up, their learning that there were other Borrowers? His helping? The reunion of all the borrowers?

10. Potter, taking them all, sticking them to the page? Spiller and his escape?

11. Pete, the exterminator, his changing sides?

12. The recovery of the will, Potter being tied up, defeated? The new house, meeting all the new Borrowers and a happy future?

THE UNAUTHORISED SAVED BY THE BELL MOVIE

US, 2014, 88 minutes, Colour.
Sam Kindseth, Dylan Everett, Alyssa Lynch, Tiera Skovbye, Taylor Russell, Julian Works, Andrew Moxham, Ken Tremblett, Kendall Cross, Sean Campbell, Andrew Herr.
Directed by Jason Lapeyre.

This is a sprightly film intended for the now adult fans of the American Saturday morning live-action program, Saved by the Bell, 1989 to 1993.

This television show had its origins in another short-lived television program, Good Morning, Miss Bliss, starring Hayley Mills. It had a range of young actors who were auditioned and hired. When Miss Bliss was cancelled, executives had the idea to focus just on the youngsters themselves which led to the several seasons of Saved by the Bell (with some aftermath series and television film, showing the characters after graduation but this series was eventually cancelled).

The film is also of interest in giving some background to the workings in the minds of television executives, coming up with ideas, some bright, some not, the powers of the producers in deciding what was to go to air and not, how it was to go, to where and when, the particular emphases on themes, as well as the protection of their property by supervising the behaviour of the young actors. It also shows the work of the writers and their creativity, the meetings of the executives, especially television producer Brendan Tartikoff.

But the main emphasis is on the young actors themselves, their age at the time of audition, the different personalities, their having to grow up on screen as well as offscreen and the repercussions for their lives, the moments of being spoiled, the moments of overcoming difficulties, the pressure on them for their characters and their real selves, the growing adulation of fans and fan behaviour. The principal actors were: Mark-Paul? Gosselaar, Mario Lopez, Dustin Diamond, Lark Voorhies, Dennis Haskins, Tiffani Thiessen, Elizabeth Berkly. They all went on to successful television careers, Elizabeth Berkely almost immediately appearing in Showgirls after her departure from the series. The character of Dustin Diamond who is the narrator of this film – but he had a mixed career as well as some bad behaviour and prison sentences and published an unreliable, sometimes falls, memoir.

The young cast for this film brings the characters to life, the teenage girls, their careers in training, gossip, hopes, romantic attachments. The characters of the boys are more varied, Mike-Paul? Goss of our as the teen hero, Mario Lopez as the cheeky boy, and Dustin Diamond as Screech, who is not a likeable character, rather alienating as he narrates the film. He is a comic character whom fans identify with the actual actor, having a bad effect on him, his befriending of Eric, an ambitious extra who wants better roles and who urges Dustin to alcohol getting drunk, videotaping him drunk with the threat of exposing him if he does not help Eric’s career.

And the film is interesting in showing the rehearsals, the skills of the young people and their acting, the live performance and the response of audiences.

As with most of the films about show business, the film shows the dreams, the disappointments, the challenges, the temptation to arrogance, the need to be honest with oneself, audiences identifying with the characters and their life stories – which meant that the young actors asked the producers and writers to bring in more serious themes, which also enhance the popularity of the series.

The actors in this 2014 television film have, themselves, had successful careers principally on television.

THE THIRTEENTH GUEST

US, 1932, 68 minutes, Black and white.

Ginger Rogers, Lyle Talbot, J.Farrell McDonald?, Paul Hurst.
Directed by Albert Ray.
This is quite an early supporting feature, running just over an hour, a variation on all those popular stories of mysterious houses and murders, wills and the reactions of the claimants, schemes for murdering people – and a final gathering where the murderer is revealed.

The film is in historical interest because it is an early Ginger Rogers film, made when she was about 21 – to go on to a significant career, dancing with Fred Astaire, and Oscar in 1944 for Kitty Foyle. The leading man, playing a private detective, is Lyle Talbot. Character actor, J.Mc Donald Farrell is the investigating policeman.

The film opens with the murder, the Ginger Rogers character, Marie, seeming to arrive at the mysterious old home, the dining room set up as it was 13 years earlier when the master of the house read his mysterious will, leaving everything to the 13th guest, and died that night. Within a few minutes, the woman is electrocuted and sat at the table in her original place.

The police are mystified, Inspector Ryan calling in the private detective who takes a very nonchalant attitude towards all the investigation. Then there is a second murder, the lawyer who was present at the dinner. All those who were at the dinner are assembled, though some have died, one missing. The placements are all written down.

There is a complication when the Ginger Rogers character, real, is discovered and the substitute revealed as having a facelift to resemble her – later revelation about the lawyer and her brother’s best friend and a scheme.

The suspects are a generally unpleasant lot, a very flirtatious cousin, her bitter dowager mother, her businessman father, another seemingly benign uncle, and a doctor friend of the family. They are all rather blasé so the private detective has them all arrested and kept in custody. Meanwhile there is another murder.

The murderer is shown veiled and gloved – rather unnecessary since none of the victims actually sees the murderer. The weapon is an electrical device connected to the telephone, the switch pulled when the intended victim answers the phone.

There is some deception, Marie invited to the house, almost killed but not answering the phone, then in the struggle with the hooded murderer. In the meantime, there has been the revelation about the facelift.

The revelation is that the seemingly friendly uncle is the murderer and that there is a special code for a safe in which $1 million is found, destined by the father for his daughter.

This is a pre-code film so there are some suggestive comments and incidents – especially with the awkward police officer, Grump, Paul Hurst, asked to follow the flirtatious woman and arriving back at the station after going in the car with her instead of after her, with his shoes on his opposite feet. Not the kind of ending that was to come with the implementation of the Code.

THE 13TH MAN

US, 1937, 70 minutes, Black and white.
Weldon Heyburn, Inez Courtney, Selmer Jackson.
Directed by William Nigh.

The 13th Man is one of those many small-budget supporting features from the 1930s, running for just over an hour, a virtually unknown cast, filmed in black-and-white.

The film has political overtones. a DA on the eve of an election makes a broadcast announcing the 13 criminals that he wants to imprison during his tenure, 12 have been named but he leaves the 13th man’s name open.

The main character in the film is a reporter, part news, part gossip, who is in the vein of the swift-talking, no holds barred action man. He has a devoted secretary whom he takes for granted, takes out for meals but forgets to eat because he’s on to news, she doing all the work for him, putting up with everything patiently – but, in the final moments, receiving a proposal!

The DA is killed during a boxing match by a poison dart. Another newspaperman, about to get married, has been investigating darts and poisons, having written on the subject in the past. Just before the wedding, when he makes a discovery, he is murdered.

The screenplay goes through the various people named by the DA indicating their potential to be the killer.

This means that the police as well as the journalist make their investigations – and, there is an Agatha Christie-like ending where everybody is assembled in the radio studio, the announcer is going to make his midnight broadcast and announce the murderer, is waiting for some verification, which arrives – and then he makes the announcement, revealing that the media man is the boss of all underground crime in the city.

Nothing startling but of historical interest – the first of many Monogram Pictures films, a prolific studio for this kind of small-budget film.

THE PAYOFF

US, 1942, 72 minutes, Black and white.
Lee Tracy, Tom Brown, Tina Thayer, Evelyn Brent, Jack LaRue?, Ian Keith, Robert Middlemass, John Maxwell.
Directed by Arthur Dreifus.


Lee Tracy had been very popular in the 1930s, usually playing the same kind of role, the journalist, the investigator, with a very offhand manner, charming everyone as well as irritating them, the touch of romance, and his continual swift talking. Tracy employs all this in this small budget feature from the early 1940s – with one of the lines from Tracy remarking that he did not want to experience the Chicago Gestapo.

The plot is familiar, the death of a high official, a murder mystery, the ups and downs of the investigation, gangsters and clubs, gambling and money.

The police continue the investigation, Lee Tracy tracking things down, having a reputation for honesty – and his discovering the truth about the owner of the nightclub, a femme fatale who gets involved with whom he flirts, and the revelation that the buyer of his newspaper is the secret head of all gangster activity in the city.

1. Small budget supporting feature of the early 1940s? Star vehicle for Lee Tracy – and his reputation in films of the 1930s?

2. The city setting, DA and office, nightclubs, journalists and poker playing, the streets, warehouse, newspaper offices? The musical score?

3. The title, gangsters, organised crime, money and bribes?

4. The murder of the DA, his report? The gun, the concierge giving the killer the gun? The later witness of the hunchback man, his letting McKay? know? His death? Information from the taxi driver?

5. The introduction to McKay?, a Lee Tracy character, swift-talking? Playing poker? The imitation of different voices to avoid contact? The information about the murder, his beating all the rest of the journalists to the murder scene? Interaction with the investigator, comment on his blue eyes?

6. The newspaper, Norris as owner, the role of the editor, Norris’s son and his keenness to be a reporter, giving the information to McKay?

7. Moroni, the suspect, McKay? interviewing him? The murder of the hunchback? Moroni going to Angus? The contact? His going to McKay’s? room, his death?

8. Angus, the club, McKay? going with the hundred dollars, Angus identifying it, the threat?

9. The background of Walker, his work with the DA, the payoffs? His having the money? Contact with the club? Giving the information and money to his daughter? His disappearance? The daughter, going to McKay?, in the room when Maroney was killed? Meeting Norris?

10. McKay?, Moroni’s death, the money and information, the key, the box? Getting the money, having breakfast?

11. McKay? hiding the money, going into the club, the encounter with Dawn, flirtation, her going to Angus’s room? His later confronting her, with the gun, pretending to be dead, his getting her to get the information?

12. The warehouse, the hold-ups, the thugs, the gun in the girl’s purse, McKay? and the others getting away?

13. The setup, the raid on the club?

14. Norris, revealed as the arch-criminal? McKay? telling him about his son? The warehouse, his death?

15. McKay?, deciding to conceal the truth about Norris, writing that he died heroically, this legacy for his son?

16. McKay? and Dawn – any possible future? Short time?

HOUSE OF SECRETS

US, 1937, 70 minutes, Black and white.
Leslie Fenton, Muriel Evans,Noel Madison, Sydney Blackmer, Morgan Wallace, Holmes Herbert.
Directed by Roland D. Reed.

House of Secrets is a small budget thriller from the mid-1930s, American but taking advantage of English settings, city of London, estates on the outskirts of London, Scotland Yard, Parliament…

The central characters are, in fact, American. Leslie Fenton is a man about town who flirts with Muriel Evans on the ship to England, discovers that he has inherited a vast estate, visits the property and is ordered off, rousing his curiosity, especially when he is advised by his solicitor to sell. He continues to investigate, boards in a hotel near the property, and is fascinated by the woman who is on the ship and whose father is now in command on the property.

He also meets his detective friend, Sydney Blackmer, from Chicago who is investigating a murder.

It is a mystery as to what is going on at the house, the quiet punctuated several times by a rather hysterical cackle. The American keeps investigating, enlisting his friend from Chicago who eventually discusses the matter with the politicians and Scotland Yard discovering the truth. There is also a parchment torn in half with information about pirate treasure in the property.

An American group has half the parchment and is planning to recover the pirate treasure – lead by the murderer that the Chicago detective is looking for.

The reason for the secrecy in the house is top-secret. A scientist is guilty of killing a colleague and about to be executed – but has secretly been taken from prison to the property so that he can develop his anti-poison gas discovery, gradually recovering his sanity and working on the solution, his contribution to the British public despite his crime.

All sorted out in the end, American gangsters arrested, a romance in the offing – and even the discovery of the treasure!

DANGEROUS COMPANY

Canada, 2015, 87 minutes, Colour.
Alicia Leigh Willis, Rick Ravenello, Melissa Marty, Susan Slome, Anne de Salvo.
Directed by Sheldon Larry.

Dangerous Company is an ambiguous title – with reference to a fashion business which is undergoing difficulties and is under threat from takeover by a Chinese company, something which the owner of the American firm does not want. There are pressures, especially from the agent, Anne de Salvo, but support from the assistant and from the owner’s husband.

Alicia Leigh Willis is Pauline, who has inherited her company from her grandmother and mother – but having to look after her mother dying from dementia while her sister backed away, drinking and on drugs. When Pauline begins to make mistakes with dates and times, losing her phone and other property, she worries that she is going the same path as her mother. However, she is continually reassured by her husband.

One suspects that there is foul play and that Pauline is being set up. Halfway through the film, it is revealed, as expected (especially if one has seen films like Gaslight), that the husband and Pauline’s assistant are in league, even setting up a medical situation with an actor confronting Pauline as her husband and substituting her mother’s charts and information.

The film becomes a touch more melodramatic towards the end, especially when the actor starts to blackmail the husband and dies.

This is standard material, even familiar, but it does mean that even familiar material is interesting to see how it works out.

1. Business thriller? Psychological thriller?

2. The familiar story of the successful woman, loving her husband, being hounded by her husband, to madness, dementia, for the takeover of the business? In league with his wife’s assistant?

3. The Los Angeles setting, the city, companies and skyscrapers, offices? Luxury homes? Hospital? City locations, for the struggle and death? The musical score?

4. The title, ambiguity, Pauline and her company, the company of her husband and assistant?

5. The situation, the company, from her grandmother and mother, American production, design? Chinese interests? Sales and takeovers, consequences? Pauline wanting to hold onto the company?

6. The visiting Chinese, his agent and her forthrightness, the translator, the discussions? The threat to disintegrate the company? The pressure from the agent, her visits? The businessman speaking English? The revelation that he had had dealings with Aaron?

7. Pauline, competent at work, Elizabeth as her assistant, confiding in her? Love for her husband, the home sequences? Her forgetting, change of dates for dinners, late for meetings, losing her phone, car keys, the wrong shoes for the concert…?

8. Her mother, having dementia, Pauline looking after her, her dying? Her relationship with her sister, the phone calls, the coolness? Her sister coming to visit, going out to dinner with Aaron, his pressurising her, the memories of her past, not looking after her mother, her drinking, the drugs, her husband, custody of her daughters? Her return, wanting to help Pauline, look after her? Helping with the solution to the issue with the shirt? Staying and helping with design?

9. Pauline, the hospital, the medication, staying at home, Aaron and his care, the pills? Her going to the doctor, the test, the actor coming as her husband, the scene, confirmation by Elizabeth? The scans, the x-rays, Pauline asking to look at them again – the background of the robbery at the hospital, revealed a substitution of her mother’s
x-rays?

10. The revelation about Aaron, giving the money to the actor? The actor taking the photos, wanting more money, the confrontation, his death? The media reports? Pauline seeing it, the man posing as her husband? The issue of his shirt, with blood on it? Pauline going to the office, getting the worker to give his shirt, her threatening Aaron with the shirt?

11. Aaron and Elizabeth, the plans, the deceptions, Elizabeth and her forthrightness, the sexual liaison? Bringing the documents, substituting the power of attorney, getting it witnessed?

12. The board meeting, Aaron urging the sale, the approval? Pauline arriving, the accusations of murder, the shirt, the Chinese man walking out, Elizabeth pulling the gun, the struggle, shooting Aaron?

13. The resolution, Pauline and the previous investigations from Jason, his passing them on to Elizabeth? Getting Ray to do further investigations, contact with other companies? And her sister helping her?

.

THAT DAY WE SANG

UK, 2014, 90 minutes, Colour.
Michael Ball, Imelda Staunton, Jessica Gunning, Daniel Rigby, Malcolm Sinclair, Conleth Hill, Sophie Thompson, Harvey Chaisty, Ian Lavender.
Directed by Victoria Wood.

This is a delightful film made for television, which will charm older audiences especially.

It is a project by Victoria Wood, a tribute to Manchester and its history, especially the recording by a children’s choir of the city in 1929 of Henry Purcell’s Nymphs and Shepherd’s. Victoria Wood has written the screenplay as well as directed the film. Very Victoria Wood characters from her plays, television series, very domestic – but, in terms of human nature and experience, transcending the domestic.

The film is a musical and Victoria Wood has composed the music as well as written the lyrics – which are very much in the vein of her practical poetry with its touches of earthiness and niceness of sentiment.

The film takes place in two time zones, in 1969 with the television program celebrating the 40 years of the recording and the bringing together of two middle-age people who were part of the children’s choir. They arrive to give interviews for the making of the television program, go to the house of the pompous host for a screening, go to a dinner at the invitation of the host and his petty and snobbish wife, feel put down (as they are) and together have a cup of tea to reflect on what has happened.

He is Tubby, played with great geniality and the best of niceness by stage star of music theatre, Michael Ball. She is Enid, played by veteran actress in Imelda Staunton (Vera Drake) who has also appeared in musical theatre in the UK. They work exceedingly well together.

In the flashbacks to 1929, Tubby is a thin little boy, Jimmy Baker, played by Harvey Chaisty, his father has left, his mother is embittered, who succeeds in the audition, befriends one of the teachers, Mr Kirkby (Daniel Rigby), a victim of a sniper in World War I, whom Jimmy helps with his walking, their becoming friends, Mr Kirkby then doing his best for Jimmy, despite his mother’s not wanting him to go to the making of the recording.

Tubby appears often in Jimmy’s life, even to helping him to get to the recording.

And there are the songs. Tubby has several for himself, as does Enid. And they have duets (as do Tubby and Jimmy) – one is very imaginative, ‘Life is like a movie’ with Rogers-Astaire? homage. And Enid has a homage to the movies with song and dance routines.

The plot does have some complications, Tubby and his mundane life, his mother just dead. Enid is a secretary in a relationship with her boss. This does lead to some soul-searching, honesty – and love.

A very nice film in the best sense.

1. The tone of the title? Memories, the event, nostalgia, memories of childhood, later regrets, the transition to middle age?

2. The work of Victoria Wood, her writing, direction, songs and her poetry in the lyrics, the music?

3. The success of the film as musical, the real story, 1929, 1969, the children of Manchester, the choir, singing Purcell, Nymphs and Shepherds? The songs for Tubby, for Enid? For Jimmy? The range of duets? The older Tubby with his younger self? Frank and his wife and the restaurant song? The dancing, Tubby and Enid, Enid and her range of routines? Happiness Street? The insertion of the songs – and the revelation of characters and feelings?

4. And the film moving to and fro in time, the effect? And the older Tubby inserted into the past story of his childhood?

5. The opening, 40 years memorial, the television program, due and his reminiscences, weeping? Enid saying it was joyful? Frank, hosting, the invitation to the screening?

6. The party at his house, his wife eating all the biscuits? Anger about the show and his being cut? His wife, and, resignation? The invitation to Tubby and Enid to dinner, the lavish restaurant, the waiters, the stylised aspects, the menu, the variety of courses and their being removed? The irony of Frank and his wife singing and their snobbery about their way of life? Tubby and Enid walking out?

7. Michael Ball as Tubby, his name, appearance, aged 50, genial? Going back to his as a little boy, small and thin, aged 10, his relationship with his mother, at home, his father leaving and his mother’s anger, the man with his gift of the gramophone and the mother’s reaction? Wanting to be in the choir, arriving late for the audition, his being accepted? Enjoying being in the choir? The woman in charge and conducting, her standards? Mr Kirkby, the First World War veteran, Vimy Hill and the sniper, his quoting the Scriptures? Jimmy’s offer to help him, his bad leg, leaning, walking slowly, Jimmy and his cheerfulness? Gift of cake, Jimmy giving it to his mother? Mr Kirkby bringing him home after the concert, asking her to let Jimmy go for the recording? The neighbour and gossip about Mr Kirkby’s visit, Jimmy’s mother’s reaction and her forbidding him to get? Jimmy and the visit from Tubby, singing, open window, Jimmy getting out, his running, going to the side, the balcony, dropping down, Mr Kirkby teaching him, explaining to the conductor sometimes had shellshock and could not remember?

8. The doorman, helping Tubby the ladder, Tubby recognising him? Helping Enid with his name, and her joy in realising who Jimmy was?

9. Tubby working in insurance, his mother’s, not liking music, her death, loneliness, Roger setting the table, his meals? The pleasure of encountering Enid? The invitation to come to the office, meet Pauline and the boss and his snub? Pauline urging on Enid, the discussions, lunch in the square, tentative conversation, the imaginative song, if Life were a Movie…, Costumes, Rogers and Astaire, the dancing? The discussions, the yoghurt? Enid explaining she was seeing someone? Pauline intervening, the pasty and chat? Enid deciding to tell Tubby the truth, Tubby’s reaction, the issue of deception, responsibility, the children?

10. Enid coming to the house, getting the address from Frank? Plain spoken? Not expecting more from Tubby? His relenting, apology, going to see the boss, with the gift of the cactus? The boss in a meeting, Pauline and the intercom, Tubby and his challenging the boss, the boss and his insulting Enid, everything heard about him through the intercom and about his affair?

11. Tubby and his reaction, leaving, Enid deciding to leave despite the boss’s plea? The gift for Pauline?

12. Enid, her life, her sister, work, Pauline and solidarity, even in diet? The affair, her boss, his using her, never going to leave his wife? Telling Tubby, hurt by him, her decision to leave?

13. Pauline, nice, married, fat, the diets, secretary, liking Tubby, urging Enid, the final gift?

14. Mr Kirkby, World War I, the sniper, his injury, stern, quoting scripture, discipline? His being touched by Jimmy’s friendship, walking home, relying on him, encouraging him, the gift of the cake, discussions with his mother?

15. The choir, the children, the exhilaration, the teacher and her instructions? The conductor, his prestige, announcing the record, conducting – and his memories of World War I?

16. A Manchester story, tribute – and a story of British joyfulness?

ROGUE ONE


US, 2016, 133 minutes, Colour.
Felicity Jones, Diego Luna, Alan Tudyk, Donnie Yen, Wen Jiang, Ben Mendelssohn, Guy Henry, Forest Whitaker, Riz Ahmed, Mads Mickelson, Jimmy Smits, Genevieve O'Reilly, Ben Daniels. Voices of James Earl Jones, Anthony Daniels. Computer mastered: Peter Cushing, Carrie Fisher.
Directed by Gareth Edwards.

Star Was has been powerful in the consciousness of audiences all around the world for almost 40 years – and, for those who have not seen it or the succeeding films, there is a general awareness of the mythology, the heroes and heroics, and, of course, The Force.

Rogue One is billed as a stand alone story – but not quite. Throughout the film there are quite a number of connections, especially with the first film, which is now the fourth chapter, A New Hope. Darth Vader appears in two scenes (and still with the voice of James Earl Jones). At the end, he appears with a laser sword. There is a glimpse of R2-D2? and 3CPIO. One of the extraordinary features of the film (though, perhaps, not necessary) is that an actor portrays Lord Tarkin from the earlier films, played by Peter Cushing, but has digitally imposed Peter Cushing and Peter Cushing’s voice on his performance. At the end, there is also a moment of a digitally-produced Princess Leia.

While there is a new score for the film, it does incorporate at different times, some of the original John Williams themes.

There are still battles in the galaxy, the film showing quite a number of planets with different terrains, planets and moons, deserts, dark forbidding battlement planets, strange moons, and a climax on the moon which has a very tropical, even Florida-look, palm trees and all – and the credits inform us that locations used were in Iceland, Jordan and, for the tropics, the Maldives.

The Empire is still dominating and there are rebels. With glimpses of the Emperor, the role of Lord Tarkin, the main representative of the Empire is Orson Krennic (Ben Mendelssohn). The Empire plans to build a Death Star for its continuing conquering ventures, engineered by Galen (Mads Mickelson) whose wife has been killed and his daughter disappeared.

It is now 15 years later, the daughter, Jyn (Felicity Jones) who has been cared for by a most strange extreme rebel (Forest Whitaker), is now sprung from prison and has her opportunity to join the rebels, her contact being a very serious hero, Cassian (Diego Luna).

Once again, as in The Force Awakens, the action is led by a woman, this time Felicity Jones. and the president of the rebel Council is also a woman.

While Cassian and Jyn at the centre of adventures, especially to try to get the plans of the Death Star and transmit them to the rebels, there are also a number of spectacular battle in space scenes, the gung ho enthusiasm of the rebels attacking the Empire.

The film has been directed by Englishman Gareth Edwards who made an impact with his small-budget monster-thriller, Monsters, and was then invited to direct the re-boot of Godzilla.

And The Force? Seen in the action is a blind Jedi, Chirrut Imwe, played by Donnie Yen, who is committed to the cause and is also heroic, along with his associate, Baze Malbus (Wen Jiang),

The film has proven very popular – and is a satisfying Star Was experience until the release of Chapter 8.

1. The continuing Star Wars sagas? 40 years after the event? World popularity? Myths, adventure, space, battles, characters, the creatures? The fight between good and evil?

2. The title, and the spaceship, the irony of the ship belonging to the Empire, taken by the rebels and renamed?

3. The story as a standalone, though the presence of Darth Vader, R2-D2? and 3CPO, Princess Leia, the laser swords?

4. The opening, long ago, far away, at the time of episode four? The vastness of space, the effect of many planets and moons, the variety of terrains? Desert? Battlements? In the final palm tree tropic setting? Locations in Iceland, Jordan, the mall dives?

5. The effect of the new score, and incorporating the old themes?

6. The background of the Empire, expansion, the emperor, Lord Tarkin and, Orson Krennic, the death Star, the plans, the rebels against the Empire? Attack and heroics?

7. The female perspective, Jyn and her leadership?

8. The situation, Jyn’s father, his engineering skills, working for the Empire, unwillingly? His escape, Orson Krennic finding him, the wife and daughter trying to escape, the return of the wife, her death? The confrontation, engineer going, his daughter escaping?

9. The story of her rescue, Saw Gerrero and his guardianship, her getting away from him? His being a rebel, extreme, information about the pilots, participation in the plans, the Council thinking him too reckless? His involvement in the plot?

10. 15 years passing, Jyn and her stances, imprisoned, the heroic rescue, her suspicions, wary of Cassian? Going to the Council, the commander, the variety of views, action? Her seeing her father and his message on the hologram? The motivations?

11. The rebels, the council, the members, the president and the feminine perspective? The various senators, the arguments? The possibility of the rescue of her father, the plan for his death by Cassian, Cassian and his rounding up the loyal supporters, the attack?

12. The introduction of the new droid, K, his intelligence, abstract, lack of emotion, ability to analyse, his vocabulary, artificial personality making an impression? Taking sides, wanting a gun, interactions with Cassian, with Jyn and her suspicions, his becoming involved, the action? An interesting Star Wars character?

13. Cassian, a young warrior in childhood, stern, undercover, the information from the spy, the spacecraft? Presentation to the board, clashes with Jyn?

14. The engineer, his plans, incorporating sabotage, his urging his daughter on?

15. Expedition, the pilot, his being taken, his craft, put in charge, his information and skill, naming the craft Rogue One? Landing, the issue of the transmission of the code? His participation, getting the connections to reach, and fire?

16. Cassian and initial attack, his having the engineer in the firing line, not able to hear what was going on, not killing him?

17. Cassian and Jyn, landing, infiltrating, their plan, contact with the pilot, the plan for the transmission, different connections, the danger, the threats, the final achievement?

18. Chirrut Imwe, the Jedi, blind, his consciousness of the Force? The other Chinese, support, participation in the attack? Having the Force after his colleague’s death?

19. The Empire, Lord Tarkiin and, his role (and the effect of seeing Peter Cushing resuscitated)? His role in the plan and the defence?

20. Orson Krennic, the Lord, his white cloak, the touch of the ruthless, the confrontation with the engineer, with Jyn, the sabotage of his plans, the explosives? Visiting the president, his being controlled? Supervising, the discovery of the infiltration, going to the tower, the pursuit, Cassian and Jyn, the conflict, his losing?

21. The council, the attack, the creature control the plane, the pilot? The variety of pilots, the fighting and the tactics, the barrier? The gung ho attitude?

22. Chirrut Imwe and his decision, walking through the guns, the Force with him, achieving his aim? His death?

23. The dangers on the tower, the action, the falling, Jyn being saved? Transmitting the information?

24. The engineer, his death? His plan to deceive the Empire fulfilled?

25. The role of Darth Vader, memories of the past, is intervention about the death Star, the final appearance with the laser sword?

26. Rebels, reinforced by the information about the Death Star? The presence of a R2-D2? and 3 CPO, The vision of Princess Leia and her talking about hope? The transition to the main
episodes?

THE OTHER SIDE OF THE DOOR

UK/US/India, 2016, 96 minutes, Colour.
Sarah Wayne Callies, Jeremy Sisto, Sofia Rosinsky, Logan Creran, Suchitra Pillai.
Directed by Johannes Roberts.

There is an exotic feature of this horror/ghost film, the Mumbai settings, the views of the city in the 21st century, the coast, the water, the affluent areas, the poorer areas, business areas. Then there is the contrast, after a train ride, to the mysterious countryside and the ruined temple.

Sarah Wayne Callies and Jeremy Sisto are a happy couple living in Mumbai, deciding to settle there, the husband doing his business in the city. They have two children but, it is later revealed, that one has died in drowning while his mother had made the option to save his sister. The mother is in continued grief.

However, the woman looking after the house who has lost her own daughter, tells the wife about a temple, ritual, the sacred men appearing, going into the temple and having a sense of the presence of the dead. The wife does this, hears the voice of her son but has been warned not to open the door otherwise the ritual is ruined and there are dire consequences. And this is what the audience sees, the young boy becoming a malevolent spirit presence, the effect on his sister, on his mother and, ultimately, on his father.

At the end, the ritual is going to be repeated by the father wanting to see his dead wife once again.

Probably more effective if seen in the cinema and for an ordinary audience rather than those who are expert in horror films and expect much more horror and gore.

1. The title, as shown during the story? Religious rituals? Life after death? Horror dimensions?

2. The Mumbai setting, the views of the city, the coast, the beaches, the high-rise, the streets, affluent homes, poorer business sections? Going to the countryside, the train ride? The remote jungle, the ruined temple, its interiors? Musical score?

3. Maria and Michael, in India, liking it, Michael’s work, the romantic atmosphere, the decision to live there? Six years passing? The photo of the family, two children? Only one in the house – and then the flashback, Maria in the car with the children, their drowning, her decision to save Lucy rather than Oliver? Her grief, people helping?

4. Michael, a good man, kind, his work, love for his daughter, care for Maria, her attacking him on the bed, her being upset, apologies? His wanting to get her help?

5. Lucy, with her mother, happy, the meals, reading the stories?

6. Piki, working in the house, her Hindu background? Her wanting to help? Her daughter’s death? Her story about the temple, the door? Arranging for Maria to go, the train travel, Maria in the jungle, going alone, discovering the temple? Piki’s warning not to open the door no matter what? In the temple, the darkness, the candles? The sense of presence? The voice behind the door, Olivers, the pleading, Maria and her doubts, eventually opening the door, the consequences? Her seeing the men, the paint, they’re being sacred – but also the images of corpses and debt?

7. Her return home, her being calmer? Michael reassured? Lucy and her experiences, talking about Oliver’s return, Lucy’s sense of his presence, the bite on her shoulder? Not telling her father?

8. Piki, reacting to what had happened, the bird dying, the goldfish, the plants dying, the garden? Her confronting Maria? The decision to burn every relic of Oliver? Collecting the items, in the garbage bags, trying to light the fire, her daughter, the ribbon, Michael C her dead in the pool?

9. Michael, his reaction, trying to save Oliver’s book? Maria, explaining the presence of Oliver? Asking Lucy – and her denials?

10. Oliver taking possession of Lucy, the facial appearance? The knife, stabbing her father?

11. Maria, desperate, the men appearing, her offering herself, her being inhabited by Oliver? The knife, her death? Michael in his desperation?

12. The ending, Michael within the temple, Maria outside, urging him to open, – and his opening the door? The consequences?