KAWASAKI’S ROSE

Czech Republic, 2009, 100 minutes, Colour.
Directed by Jan Hrebejk.

The title comes from an origami design introduced at the end of the film, indicating the various layers in the design. There is also character, a Japanese artist who suffered grief has been taken in by a cheque sculptor living in Gothenburg, Sweden. However, the film is mainly about a family coming to terms with an award being made to a famous psychiatrist, the Memory of the Nation award.

A documentary is being made about him and his wife. His son-in-law is one of the filmmakers, as is the girlfriend, with whom he has taken on an affair while his wife is in hospital, suffering from cancer. She is released from hospital. The husband wants to make a break and be with his girlfriend. The couple also have a teenage daughter, with dyed red hair, who has her own teenage problems.

When the filmmaker gets some secret information and files, the filmmaking crew go to interview a man who was in the police, an interrogator and a torturer. He reveals truths about the professor – as well as the relationship between the professor and his wife before his daughter was born. This involves the radical sculptor, who spoke out against the Communist regime, who was exiled after torture. It emerges that the professor had supplied information and questions for the interrogation.

The action moves from Prague to Gothenburg, a much sunnier place, cheerful with the robust sculptor. It emerges then that he is the father of the woman with cancer and she and her daughter visit him. Eventually the action is back to Prague where there is confession and reconciliation.

The film won many awards including the Ecumenical Award for the Panorama section in the Berlin film Festival, 2011.

1. An award-winning drama? Questions about Czech history?

2. The history of Czech people in the 20th century, the Communist era, the Velvet Revolution? The Russian suppression? Collaborating with the Communist authorities? The reassessment? The attitude of the new generation who had not experienced this directly? The transformation of the Czech Republic after the fall of communism?

3. The contract with Sweden, the beauty of the city, the water, light and colour?

4. The title, Kawasaki being introduced at the end of the film, his personal suffering, his stopping his art, eventually starting again, the origami, the design of the rose – the gift? And his accompanying the group for the reconciliation in Prague?

5. The narrative about the medal of honour for the nation? The flashbacks? The television program, the making, the setting up scenes? Going beyond the documentary?

6. Pavel Josek and his status, his being a famous psychiatrist, the announcing of the award, the decision to make the television program, the scenes at home, the artificial acting of the scenes, the dialogue? Pavel’s wife? The beginnings of the back story and the revelation?

7. Ludek, Lucy and her time in hospital, the good prognosis from the cancer? Their daughter at home? Her return home, Ludek receiving her at home? Yet his relationship with the television assistant? His promises to her? Her expectations? Interactions at home, his wanting to move out, Lucy and her reactions, ousting him? Her dependence on her parents? Her mother’s observation on Ludek?

8. The documentary making, the girlfriend, the investigation, Ludek getting the documents, examining them, giving them to his wife?

9. The flashbacks, dramatising the truth, Pavel’s wife and her relationship with Borek? His work as a sculptor? Dissident? The arrests, the interrogations, the woman pregnant? Suspicions, the role of the psychiatrist, preparing the questions for the interrogation? Borek, his not knowing the woman was pregnant, going to exile? The woman and her engagement with the psychiatrist, marriage, the birth of her daughter? The psychiatrist tanding by his wife over the decades? The explanations to the television crew?

10. Borek, character, sculptor, heart, his spheres? The group looking at his sculptures? His life in Sweden, for many decades, family? Extrovert type? With the television crew? His discovering the truth, not knowing that the woman’s child was his? His meeting with his daughter, granddaughter? Showing them around? Exuberance, return to Prague?

11. Lucy, with her daughter, issues of discipline at home? The decision to go to Sweden, meeting Borek, discussions, learning the truth, the effect?

12. The television team tracking down the interrogator from the past, the interview with him, his really revealing the truth about the professor, about his wife, about Borek? His sinister character?

13. The group returning to Prague from Sweden, meeting with the professor and his wife, the resolution? The ceremony and the professor receiving his medal?

14. The times, the powerful hold on people, psychological pressure (and suggesting the refusal of medication for family friends)? Intellectual torture? The overcoming of this past – an acknowledgement, and learning to live with it, and confession and repentance?

THE DUST FACTORY

Ryan Kelley, Hayden Panettiere, Armin Mueller- Stahl, Kim Myers, George De La Pena, Michael Angarno, Peter Horton.
Directed by Eric Small.

This fantasy is for a teenage audience, boys and girls, and was written and directed by Eric Small.

The focus of the story is on Ryan, played by Ryan Kelley, a teenager who is still grieving the death of his father (and later flashback indicates that the father had died, hit by an oncoming train, after he had pushed the car with his wife and son to safety). Ryan is very reticent, does not speak, taunted by his friends, worried about by his mother and his stepfather. The old grandfather, played by Amin Mueller- Stahl, is silent with Alzheimer’s. Michael Angarano is Ryan’s good friend.

After Ryan falls into the river and re-emerges, the situation has changed. The house is empty, his grandfather is alive and well and takes him on an exploratory journey which includes discovering a young girl, Melanie (Hayden Panettiere) who is able to skate on top of the water of the lake, a strange circus and ringmaster, trapeze acts, the dust on the floor of the circus which is called a dust factory, which people can fall through and go into other worlds, discover strange people, strange clothes, in a semi-comatose life. This is all a matter for a kind of limbo experience, a transition from one world to the next, the possibility of discovering oneself, making options to come to life again. This is what happens, advised by his grandfather, challenged by the ringmaster, with Melanie as accompanying him.

The film is rather serious in its tone, complex in its plot – but a moralising story for its intended audience.

1. A fantasy film? Serious fantasy? For the audiences? Their imagination? The reflection?

2. The American town, home, the countryside? The circus? The big top, trapeze, the dust factory? The inner realms of fantasy? The lake, the bridge? The musical score?

3. Ryan’s story, his age? At home? With his mother, with Lionel? The skating, with Rocky? With the friends, their taunting him about not speaking? Rocky accepting this and living with it? His bond with his grandfather, Alzheimer’s? The memory of his father, sketching the moon, the telescope? The later flashback, in the car with his mother, caught on the rail tracks, his father pushing them to safety, his father struck by the train?

4. Ryan, the outing with Rocky, on the bridge, the dangers, slipping? Ryan later falling from the bridge? Coming up from the water, Rocky disappeared? A new world?

5. Going home, his grandfather well, leading him, giving him good advice? The countryside, the circus? Seeing Melanie skating on the lake?

6. Melanie, her age, personality, her experiences, loss of memory, her friendship with Ryan, sharing with him?

7. The grandfather and his guidance, explanations, his mother and father? Choices?
8. Going to the big top, the trapeze artists, the ringmaster, his expression, both sinister and challenging? Their being caught? The dust, going into the other space, the range of people met, their appearances, costumes, their loss of memory?

9. The Dust Factory, disturbing the dust? The challenge to Melanie? The challenge to Ryan? His going on the trapeze, holding on by one arm?

10. The personality of the ringmaster, communicated with facial expression and action? The baseball, Ryan’s ability, the challenge, succeeding?

11. The moral of making choices, hanging on, opting out or facing the future?

12. His return to normal, after the appearance of his father, drawing the moon, the bond with his father? His beginning to speak, his mother’s delight, the support of Lionel? Rocky and his support? And the appearance of Melanie?

13. The appeal of the film – to what age group?

THE WYVERN MYSTERY

UK, 2000, 120 minutes, Colour.
Naomi Watts, Derek Jacobi, Iain Glen, Jack Davenport, Aisling O' Sullivan.
Directed by Alex Pillai.

The Wyvern Mystery is based on the novel by Irish poet, novelist, newspaper editor, Sheridan le Fanu, who is, perhaps, most famous for his lesbian vampire story, filmed many times and with many variations, Carmilla. He also wrote the Gothic story, Uncle Silas.

This film is very much a story of the mid-19th century, the Victorian era, with the traditions of Gothic storytelling.

With a mad woman in the attic, there are echoes of Jane Eyre (and comment that Charlotte Brontë was influenced by him), of rural scenes reminiscent of Hardy and a number of coincidences in Dickens’ vein.

There are dastardly deeds by the squire of the Manor, played with some force by Derek Jacobi. There are orphans, especially the young Alice who has lived in the custody of the squire and who wants to marry her. This was an early role from Naomi Watts after her career in Australia and making some films in the United States. Her breakthrough role in Mulholland Drive came immediately after this film. The two sons of the squire are played by Iain Glen and Jack Davenport. Aisling O’ Sullivan is the mad woman. The film was directed by Alex Pillai who had an extensive career in television series.

This production is in the vein of British historical dramas with a strong emphasis on costumes and decor, locations – with touches of mental deterioration, deaths, mysteries, betrayals.

The novel and this film are not as widely known as other stories and films from these eras.

1. The writings of Sheridan le Fanu? His Irish origins? Stories about England? The Gothic tradition? The British film tradition of historical dramas?

2. The period, the mansions, the countryside, costumes and decor? Sense of period? Musical score?

3. The title, expectations?

4. The opening, Alice’s father, separated from his family, the role of the squire, the death? The squire taking Alice into his care?

5. Alice, the child, growing up, the attentions of the squire, his proposal? Alice and her relationship to his two sons? Her love for Charles, his coming to visit, his father spurning him? Harry, devoted, at home? The planned elopement, Harry and his help, Charles and Alice leaving?

6. The journey, Alice and her expectations, the mystery about Wyvern?

7. The mysterious mansion, the rooms, vast? Secret rooms? Locked?

8. The gradual revelation of the woman, her madness, her screams, her breaking through the wall, the physical attack on Alice? Her meals, Mrs Tarnley taking care of her? The revelation
that she was Charles’s wife?

9. The buildup to the melodramatic climax? The woman, the knife, her stabbing Charles, his death? The infectious disease, taking the baby into care, Alice and her having met Claire, the story of her child and Harry’s support?

10. The collapse of Alice’s world, the death of Charles, the death of her son, the passing of five years, her work in the fields, a strong woman? Going to the grave of her child each year? Going to the house, the encounter with the squire, his physical and mental collapse?

11. Wyvern, Harry as the heir, his taking over?

12. Alice, the discussions with the doctor? Mrs Tarnley and her compassion, deciding to help? Alice’s chance encounter with Claire, Claire and her denials about having a child?

13. Alice getting the information, the background of the old soldier and his story, Charles and Harry with him?

14. Alice going to the house, sinister, the readings from the Bible, the housekeeper, the children and the Bible readings, Alice recognising her son? The drama of her taking her son to safety? Her dreams and fears about him?

15. Alice and her visiting the mad woman, getting the keys, the information, freeing her, her death?

16. Confrontation with Harry, Harry as scheming all the time, his wanting to inherit, the death of his brother, the mad wife, Alice’s son disappearing, the final revelation of him as a villain?

17. The popularity of Gothic melodrama, sinister characters, betrayals, disasters – but a final happy ending?

THE BRAND NEW TESTAMENT

Belgium, 2016, 118 minutes, Colour.
Pili Groyne, Benoit Poelvoorde, Catherine Deneuve, François Damiens, Yolande Moreau, Laura Verlinden, Serge Lariviere, Didier de Neck, Marco Lorenzini.
Directed by Jaco van Dormael.

Jaco van Dormael is a Belgian director with a wry sense of humour. His films include Eighth Day, Toto los Heros and the very eccentric Mr Nobody. The Brand New Testament is eccentric indeed. It plays with biblical ideas and images, has its own Genesis and Exodus as well is its own God, in the form of comedian Benoit Poelvoorde, a mean-minded creator living in a house in Brussels with his housekeeper Goddess wife and his precocious daughter. There are references to Jesus himself, images of Jesus on the cross, of a statue who dialogues with his sister, urging her to greater things.

God has spent a lot of time making mischief for humans. His wife, Yolande Moreau, is busy tidying up and causes a problem when she disconnects God’s computer in order to plug in her cleaner – and he had sent out messages to all people about the date they were to die. This causes some kind of panic as well as people planning the rest of their lives, for a short time or a long time.

God’s daughter, Ea, escapes through a laundry vent, befriends a homeless man who becomes her scribe for a new Testament, and spends her time finding six apostles – quite a range of people in ordinary and extraordinary situations (including Catherine deneuve falling in love with a gorilla). By the end of this experience, Ea has new sayings for a new gospel. God has followed her down to earth but is arrested because he has no papers and is to be transported to prison in Uzbekistan. God’s wife then reconnects the computer, starts it again and people’s time limits for life on earth are no longer part of their information…

1. The title, the tone, expectations? Religious antireligious? Reverent and irreverent? Whimsical?

2. The audience and ideas of God, the Biblical background and traditions, faith and stances for God, stances anti-God? Images of God as Creator, controller? The sketches of Adam and Eve and their multiplying generations? The joke of Adam with the black bar across his genitals and trying to get rid of it? The images of a vengeful and tormenting God? Issues of human decision and free will?

3. God in the 21st century, living in Brussels, in the apartment? His 21st-century Genesis? Modern, his goddess wife, his clothes and appearance, the comic touches, the wife and her cleaning? The da Vinci picture? God and his computers? His composing all the petty and malicious laws for people to be hurt? Programs and control? The memories of Jesus, his critique of Jesus? His being on hard on his daughter?

4. Ea, the daughter, her age, home life, love for her mother, her mother’s love of baseball and wanting eighteen disciples like a team? Her opinions and wanting to change the world? Her talking to the statue of Jesus, his coming alive, his memories, experiences, a device? The later joke about JC and van Damme? Ea and her Exodus, wanting to escape, the advice to go through the washing machine? Her tampering with the computer, sending out all the text messages about how long everybody had to live?

5. Her getting out, the real world, eating a hamburger at the dump, the people she met, the puzzles, meeting Victor, the discussions, becoming friends? Aims, to find the six apostles? A brand new Testament and Victor writing it down?

6. People receiving the text messages, the information about their deaths, the range of individuals, the different times, the reactions, the sudden deaths, the carefree attitude, people pursuing hobbies, ease? The role of the media? The comedy with Kevin - he knew that he couldn’t die and his various attempts and his being saved?

7. Ea and Victor, his being homeless but bonding with Ea, the quest of finding the apostles? The six different types, their circumstances, men and women, some hard lives, others and their eccentricities? And Ea listening to the music inside each of them?

8. The first disciple: Aurelie, young woman, ill, her face, loneliness, her loss of her arm?

9. The second apostle: Jean-Claude?, his dreams, remaining on the park bench, birds, his wonder at the formations, arriving the Arctic?

10. The third decide apostle: the sex addict? Lonely, his memories of the German girl, voicing porn movies, meeting the right woman?

11. The fourth apostle: the assassin, flashbacks to his childhood, deadly, aims, his hobbies, his wife and child, seeing the girl in the elevator, following her, the declaration of love, the guns, shooting Aurelie and hitting her artificial arm? with her, the change of heart?

12. The fifth apostle, Catherine Deneuve, life, luxury, glamour, shopping, her home, her unfaithful husband? The affair with the young prostitute? Ea taking her to the circus, the encounter with the gorilla, the gorilla going home, the relationship? A variation on Beauty and the Beast?

13. The six apostle: the young boy, terminally ill, deciding what he wanted, the reaction of his parents, wanting to be a girl, wearing the dress, going to school? The fish – and returning it to the sea?

14. God, coming out through the washing machine, the suds, eating the hamburger, attacked as a vagrant, his malevolent responses, wandering, his arrest, not having any documents, being transported to Uzbekistan, the plane and its being about to crash? His working in the factory in Usbekistan and making washing machines (and a possible escape)?

15. The wife, cleaning the office, using the socket for the vacuum cleaner, turning the computer on, the request to reboot, her accepting – and people getting the texts that their deaths were not planned? The wife and her looking at the da Vinci picture with the increasing number of apostles? Her picking the floral colour of the sky?

16. Everyone on the beach, the threat of the plane crash?

17. The change, everybody becoming normal, happy? Ea and Victor and the writing down of the new precepts? The gathering with all the apostles and their new lives?

18. The epilogue, the tone – and Kevin challenging death again – and failing?

JINGLE ALL THE WAY

US, 1996, 89 minutes, Colour.
Arnold Schwarzenegger, Sinbad, Phil Hartman, Rita Wilson, Robert Conrad, Martin Mull, Jake Lloyd, Jim Belushi, Lorraine Newman, Harvey Korman.
Directed by Brian Levant.

According to all theory, Jingle All the Way, should be a children's holiday movie - and it is, but it is also a film for parents. The plot has its funny moments, with busy dad, Arnold Schwarzenegger being a good sport in another comedy role after Twins and Junior as well as Kindergarten Cop, failing to buy his son the latest hero toy.

So, Arnold and other parents, including a comic turn by Sinbad as Arnold’s nemesis, indulge in battling behaviour to get the last toy, behaviour that parents would be horrified to see in their children. It's supposed to be a satire on the commercialisation of Christmas but, rather, it seems to reinforce it. However, by a series of chances, Arnold is involved in the Christmas parade and becomes, literally, Turbo Man, to the delight of his son Phil Hartman has a role as a sleazy neighbour who charms all the women. Rita Wilson plays the mother of the young boy. Men behaving badly.

Larry, the Cable Guy, starred in the raucous Jingle all the Way 2.

1. A Christmas story, a Christmas rush story, the spirit of Christmas, Santa Claus, gifts? Popular gifts, the pressure on parents? The hold the children have over parents?

2. The title, the song, as an image of the feuding parents trying to buy toys?

3. The setting in Minnesota, Minneapolis- St Paul, busy offices and Christmas parties, homes, children and their watching TV and super heroes, neighbours, the folksiness of neighbours helping neighbours? The musical score?

4. Howard, his situation at the office, all the clients, saying they were his number one clients, even saying this to his wife? The son, his karate class and belt? The wife phoning, the secretary urging? The traffic jam? His being late, the reaction of his son, of his wife? His promise to do something better? His son wanting Turbo Man doll, his having promised to get it but forgotten?

5. The background of Turbo Man, the television programs, the doll, the heroism, the villains, the sayings, fulfilling promises, defeating the enemy? The president and his wife? This all being taken up in the parade, Howard as Turbo Man, Myron as the villain, the float, the action, the boy involved, the villain taking the boy to the Christmas tree on the roof, Howard and finding that Turbo Man could fly, the mayhem in the procession, the rescue, getting the doll – and the son willing to give the doll away to Myron for his son?

6. The scenes in the shop, the crowds, the savage parents, trampling the manager as the doors opened, shelves tumbling, chases, fights, Howard chasing the boy with the ball, the mothers bashing him? Meeting Myron, their discussions, Myron as the postman, stories about his father and his disappointment? Confiding in Howard, yet their continued rivalry, the chases, the fights?

7. The episode with the Santa and the elves, the factory, the con, the fight, the police, Howard pretending that he was police?

8. The humorous interludes with the stern policeman, on the highway as Howard cheated to avoid the traffic, knocking down his bike, the coffee all over him, at the false factory, the end…?

9. Howard, desperate, escaping the policeman, finding himself in the preparation for the parade, the spiel by the manager, the suit, on the float, Myron, the escapades?

10. Happy ending, the son doing the nice thing with the gift, proud of his father – and the postscript with his wife wondering what Howard, after all that trouble, had as a gift for her!

LADY AUDLEY'S SECRET

UK, 2000, 95 minutes, Colour.
Neve Mc Intosh, Steven Mackintosh, Juliet Caton, Kenneth Cranham, Jamie Bamber, Melanie Clark Pullen.
Directed by Betsan Morris Evans.

This melodramatic film is based on a very popular, even notorious, novel by Mary Elizabeth Braddon (1835-1915). it was filmed several times in the silent era.

The setting is England, 1868, a country mansion where Lucy is governess to Sir Michael’s daughter, Alicia. Sir Michael proposes and Lucy accepts. There are various secrets including the fact that Lucy had been married to George Talboys who had gone to Australia for gold leaving behind his wife and newly born child. She arranged a deception to indicate that she and the child had died, leaving the child care of her father. When her husband returns, he receives the news that she has died but then discovers that she is alive, who she is, and he falls down a well as they clash, she leaving him. His friend, Robert, orphaned nephew of Sir Michael is attracted to Lucy but then decides to investigate her past.

There are complications with a loyal maid, her fickle fiance who discovers the secret and blackmails Lucy.

The story comes from the Gothic tradition of British novels and is set in Victorian times.

Neve McIntosh? (Gypsy Woman) is Lady Audley, Kenneth Cranham is quietly effectivene as Michael, Steven Macintosh rather conflicted as Robert.

1. The reputation of the novel? In the 19th century? Based on the author’s own experience? Intimations of stories like Jane Eyre?

2. Adaptation for the screen, for television, the British tradition of period films, costumes and decor, estates, houses and lands, interiors? Musical score?

3. The introduction to Lucy, as governess, with other servants, her role in Sir Michael’s household, with Alicia? Sir Michael and his proposal, her consideration, acceptance? The marriage? Her becoming the lady of the estate? Her relationship with Alicia? With Phoebe and the servants? Sir Michael and his devotion?

4. Robert, returning from Australia, the goldfields, his friendship with George? Searching the papers, the news of the death of George’s wife and child?

5. Robert, the intended married marriage to Alicia? His immediate attraction to Lucy? Her realising this, her disdain? With George, loyalty? His curiosity, probing, the information, following it through, the threats to Lucy? Going to see her father, finding out the truth? The revelation to Sir Michael? His health? Alicia and her reaction? The impact of the tour of the house, finding the portrait?

6. George, his reaction to Lucy, the discovery of the truth? The confrontation, the clash, falling down the well? The later information that he had survived, recovered, had found a new partner? His vindictive attitude towards Lucy? Robert, the shock of learning about George?

7. Phoebe, relationship with Luke, looking at the jewels, finding the baby shoe, Luke and his blackmailing Lucy, her payments, Robert observing this? Luke abandoning Phoebe, Phoebe and her helping Lucy?

8. Lucy, the opportunity to tell her story, her poverty, her mother in a mental institution, her father, the marriage, George abandoning her, the plan for her death and the child? The marriage, her devotion to Sir Michael?

9. Robert, antagonistic, his mixed motivation, the truth, rejected by Lucy? His relationship with Alicia, the engagement, putting it off? His continued investigations, going to Yorkshire, the information? Engaging the doctor, his stating that madness was not hereditary? But his disapproval of Lucy, saying she was not mad but dangerous in society? Her being taken to the French institution? Her feeling that she was imprisoned?

10. Alicia, compassion, taking the money, Lucy being freed?

11. Robert, pursuit, the railway station, Lucy dying her hair, Robert and his reading defeated?

12. The popular ingredients of Victorian melodrama?

PANIC AT ROCK ISLAND

Australia, 2011, 95 minutes, Colour,
Grant Bowler, Zoe Cramond, Eli Kent, Vince Colosimo, Damien Walshe- Howling, Marshall Napier, Dee Smart, Jessica Tovey.
Directed by Tony Tilse.


Panic at Rock Island is a lavishly staged disaster film. The setting is Sydney Harbour, an island near the Harbour Bridge, and the staging of a rock concert which has drawn a large audience.

In the meantime, two young people (from New Zealand – there was New Zealand money in the production), have discovered a dying man in underground tunnels. When the authorities are alerted, it emerges that there is a virus on the loose, quickly contagious. A growing number of people are taken ill on the island and the police and with the meagre medical resources try to cope.

In the meantime, Jim Quinn, the medical advisor to the New South Wales government, has been in clashes with the Minister and the Premier about precautions being taken for quarantine and care about infections and their spread. He has to take charge of the investigations – which involve an expert in military matters from Vietnam (Vince Colosimo). This links in with the opening sequence in Afghanistan and a man with some kind of virus.

There are the usual political clashes. There are other family concerns, especially when the man in charge finds that his son is not studying and is on the island, and his policewoman daughter is also working there. His anxious wife also makes her way to the island despite military prevention for people moving on or off the island.

The film builds up its sense of drama, the various people who are becoming sick, the desperation of the official and the reaction of the minister and the Premier – who, ultimately, take all the credit for the happier resolution and the alleged lack of panic. There are in fact, quite a number of scenes of panic.

The twist at the end is that the virus has been produced in Sydney itself, by a government sponsored institution, for bioterrorism. The man who was seen in Afghanistan at the beginning of the film, understands the virus and has been trying to expose the makers.

At the end, the media come up with a cover story, exonerating the government and dismissing the man who made the complaints granting him as a terrorist.

Grant Bowler, a New Zealand actor who appeared in The Great Mint Swindle as well as (True Blood and is Richard Burton in thetelemovie Dick and Liz, with Lindsay Lohan), is a sturdy central character. Vince Colosimo is the military advisor who knows more than he communicates.

Steven Soderberg’s Contagion – with similar but vaster scenario was released in 2011.

1. The impact of this kind of disaster film? Audiences identifying with the situations? With the characters? With their behaviour? With the dangers, with possible solutions?

2. The Sydney setting, the harbour, the island, the Harbour Bridge and the scenic points? Atmosphere?

3. The rock concert, the choice of music – and the music played throughout the film?

4. The opening in Afghanistan, the Australians all going down the well, the tunnel, discovering the sick man? The aftermath – his return to Australia, his being cut off from the military? His knowing about the virus? His attempts to expose the situation? His own illness, in the tunnel, dying? His reputation destroyed by the government and the media at the end of the story? A bioterrorist?

5. Jim Quinn, a man of integrity, his skills as a doctor? His political arguments with the Minister, the Premier? The rock artists objecting to the quarantine examination at the beginning? The pragmatic nature of politics? Unwillingness to take risks? Unwillingness to face the facts?

6. The investigator, getting the blood from the island, identifying the virus, communicating it to Jim Quinn? The dim view of the authorities?

7. Jim and his family, his wife, a growing concern about her children on the island, the phone calls, coming into the office, facing the ban, getting a fishing boat, going to the island, knocked into the water by the speedboats? Her getting there, finding her children, Jim?

8. The children: at home, the young woman, police work, on the island, helping out? The boy, his friend, not studying, the mother’s okay to go to the island? The reaction to the virus? The friend, his behaviour, diving into the water, getting to land, being bashed by the military?

9. The the reaction of the young people, the stopping of the concert, their booing, the panic scenes? Cheering on the swimmer to the mainland, aghast at what happened to him?

10. The young New Zealanders, in the tunnel? Not wanting to communicate, the girl telling the truth? The young man, his illness, deterioration moving amongst the people, his death? Her later wanting to get the young people through the tunnel – the authorities flooding it and drowning them?

11. The behaviour of the minister, the behaviour of the Premier? Arguments with Jim? His going over their heads, banning people from leaving the island?

12. His military background, SAS? A federal advisor on terrorism? His knowing Jim? His accompanying him, finding out the truth, about the researcher, about Matthew Cross and his history? His knowing the truth about the manufacture of the virus?

13. The media, the vacuous interviewer – and her relationship with the Minister, and the shock horror ending of her having the virus?

14. The presentation of the police, their work, the doctor and his commitment, the need for avoiding infection, the issues of blood, vomiting? The doctor and his exhaustion yet helping people?

15. The plausibility of this kind of event, panic, virus – and the warning about bioterrorism?

THE SECRET AGENT

UK, 2016, 170 minutes, Colour.
Toby Jones, Vicky Mc Clure, Charlie Hamblett, Marie Critchley, Tom Goodman- Hill, Raphael Accloque, Stephen Graham, David Dawson, Tom Vaughan- Lawlor, Ian Hart, Penny Downie.
Directed by Charles Mc Dougall.

The Secret Agent is a television adaptation of the novel by Joseph Conrad, set in London in the late 19th century, the world of anarchists and espionage. It was filmed in 1936 by Alfred Hitchcock under the title, Sabotage, with Oscar Homolka and Sylvia Sidney, Hitchcock having used the title The Secret Agent for a W. Somerset Maugham story in 1935. Conrad’s novel was also adapted for the screen in 1996 by playwright Christopher Hampton with Bob Hoskins and Patricia Arquette in the central roles and a strong supporting cast including Jim Broadbent and Robin Williams.

This version was screened over three evenings in hour-long episodes.

Toby Jones portrays Verloc, the proprietor of a rather seedy shop in Soho, along with his wife, Winnie, played by Vicky Mc Clure. His wife’s mother also works in the shop as does her mentally impaired younger brother, Stevie, played by Charlie Hamblett. It is a centre for meetings of anarchists including The Professor, an explosives expert, played by Ian Hart, along with Michaelis (Tom Vaughan- Lawlor) recently freed from jail and Opison, a continental anarchist (Rafael Alcoque). The investigating police inspector is played by Stephen Graham.

Verloc has been in the pay of the Russian Embassy but has also been an informant for the government. The Russians pressurise him to set an explosion, an act of provocation. He takes Stevie along, who playfully runs with the bomb when it explodes.

The Home Secretary and the police chief are suspicious of the Russians, confront them.

There is melodrama at home when Verloc’s wife is told of the death of her brother, leading to her killing Verloc, going to Opison and attempting to flee England with him by train.

With her death and Opison going to the Russians, there is a twist as he is also in the employ of the British police.

Commentators were critical of the slowness of the production as well as whether the adaptation from Conrad was faithful or not.

1. Interest in Joseph Conrad’s novel? 19th century? London? Anarchists? The Russian Embassy and Russian intentions? The work of the British police?

2. Hitchcock’s adaptation? Christopher Hampton’s adaptation?

3. The London settings, the Soho streets, the shop, the interiors and home? The police precincts? The Russian Embassy and its lavish style? Social occasions? Greenwich, the park, the explosion? The home in Kent? The professor, the police, prison? The colour photography – and its muted and darker sequences? The musical score?

4. The character of Verloc, his background, his marriage, mother-in-law in the shop, his attitude towards Stevie? His long years in the pay of the Russians? Information to the British police? His house as the centre for anarchist meetings, the range of views? The Russians pressurising him to do a provocative action? His suggestions at the meeting? The discussions with The Professor, going to him to get the explosives?

5. The decision to go with Stevie to the country, creating the pretext for his wife, the visit to Michaelis, his not wanting to be part of the plot, sending Verloc away? Verloc going to Greenwich, with Stevie, Stevie playing the game, running with the explosive, his death, the huge crater? His body, the police taking it, the address tag from his coat?

6. The Russian Embassy, the secretary, his imperious manner, the other members of the staff, keeping Verloc waiting, interviewing him, putting the pressure on him? The attendance at social functions, encounters with the police chief, the aristocrat sponsoring Michaelis, being confronted by the police, unmasked? The role of Russia at the time?

7. The Professor, his eccentric manner, his skills with explosives, his laboratory, the credits and the making of bombs? Meetings, his views? Supplying Verloc with the explosive? His wearing the explosives on his coat? The arrest, the interrogation, in prison? His defiance – but the police getting the better of him with lesser charges and his release?

8. Michaelis, release from jail, theoretical anarchist? Going to the country to write his memoirs? The patronage? His not wanting Verloc in his house?

9. Opison, the pamphlets, the attraction to Winnie, the outing together, her going to him in desperation, the sexual attraction and encounter, getting the money, escaping to the railway, buying the tickets, taking Verloc’s money, the ticket for the ferry, his return to London, in the employ of the police, going to the Russians?

10. Winnie, the devoted wife, accepting the sleazy nature of the shop and its contents? Devoted to Verloc? Devoted to Stevie? The role of her mother, moving her mother out of the shop? Her happiness that Stevie was going out? The inspector giving her the information about his death? Her being frozen and emotionless? Listening to Verloc, his meal, his rationalisations, getting the knife, killing him? Going to Opison, the sexual attraction, interrogated at the railway station, on the train, the ticket to the ferry, on the ferry, alone, drowning herself?

11. Stevie, mentally deficient, working in the shop, his devotion, the walks with Verloc, going to Michaelis’ house, at Greenwich, his death?

12. The police chief, moving in social circles, the discussions with the Home Secretary? Reputation? The death of Verloc? The disappearance of Verloc’s wife? Working with Opison?

13. Inspector Heat, his reputation, his contacts and informants? The relationship with Verloc? With the police chief, the discussions? The explosion, the tag from the coat, the morgue? His telling the truth to Winnie? The consequences, Verloc’s death? With the police chief?

14. A strange underworld in Victorian England?

GYPSY WOMAN

UK, 2001, 84 minutes, Colour.
Jack Davenport, Neve McIntosh?, Corin Redgrave, Julian Wadham, Nick Brimble.
Directed by Sheree Folkson

Gypsy Woman is a little known and little seen film produced by the Isle of Man.

Jack Davenport is the star, Leon, a businessman who tangles with a gypsy woman, Natalie, tries to pay her off, gets caught up in her activities including the breeding of her mare, is shot at, chased, hit with Natalie’s daughter’s slingshot, gets lost in the countryside, but finally warms to Natalie, going to a luxury hotel while impersonating a famous rock star, has an encounter with Natalie who leaves, putting a note on Leon’s car, but its falling off and he thinking that she had abandoned him.

By chance, the solution comes through Leon’s daughter who has become a phone friend of Natalie’s daughter – leading him to the auction for the foal that he had helped to produce and who had been named Leon!

A light romantic comedy, running to formula and therefore predictable but pleasantly so.

1. A light romantic comedy? Formula and predictable – but with humour and charm?

2. The London settings, offices, courts, homes? Contrast with the countryside, the beauty of the scenery, the celebrations for the Gypsies, the lavish funeral and customs, the stable and horses, the open fields? Contrast with the lavish hotel? The auction for the horses? The musical score?

3. The story from Leon’s point of view? Driving, haughty, the breaking of his windscreen wiper, the encounter with Natalie at the door, the court, his company, negligence, Natalie arriving, the wife of the deceased? His reaction? At the office, discussions with the authorities, the offer of £50,000, and his pocketing some of the proceeds? His decision to find Natalie?

4. Leon, the death of his wife in a car accident, with his daughter, late for her play, the bedtime story, the phone calls while he was away?

5. In the countryside, the Gypsy boy, the drive through the mud, the funeral, his watching, the mobile phone ringing, the reaction, Mani hitting him, taking the car, his being stranded?

6. His finding Natalie, her daughter and the slingshot? With the stallion, with the mare, his involvement with the breeding? His being shot by the owner? Escaping on horseback?

7. His prejudices about the Gypsies, the discussions with Natalie, the story of her husband, her own background and education, the daughter? Her sending him off? His being lost, returning? The encounter with the police, the owner of the stallion, punching the police, escape on the horse?

8. The breaking down of his prejudices? Sympathy for Natalie? Their being chased? Going to the hotel, the luxury, the impersonation of the rockstar and the response of the staff, service, autographs? The romantic interlude, Natalie wanting more time, change in Leon?

9. Natalie’s disappearance, leaving the note, losing it with the broken windscreen wiper? His presuming that she was not interested, would marry, set up a business with Many?

10. His success with the money, not cashing the check, the taunts of his fellow workers about his lack of emotion?

11. His daughter, the phone call, the two little girls becoming friends, her information, going to find Natalie, the encounter with the Gypsy boy and more reckless driving? The auction, Leon hurrying, his bid, the threat from Mani, Natalie intervening, the £50,000?

12. And a happy ending? Leon saying his life, lack of income, with a gypsy wife, the horses, the two daughters was a nightmare – and he did not want to wake up?

L’OMBRE DU MONT- ST- MICHEL/ SHADOW OF MONT ST MICHEL

France 2010. 90 minutes, Colour.
Claire Borotra, Serge Hazanavicius, Thomas Jouannet.
Directed by Klaus Biedermann.

The Shadow of Mont St Michel is a telemovie, a murder mystery. Because it is set under the shadow of the famous monastery, cut off at times from the Normandy coast by the tides, it has become a celebrated tourist centre as well as religious centre. The continual presence of the monastery is striking, filmed at various times of the day and from various angles, the exteriors and interiors. It is certainly an attraction for tourists who watch the film.

The murder mystery seems to have all kinds of psychological repercussions with a touch of the supernatural. This is played out for most of the film – but, ultimately, it becomes a rather simple and tawdry resolution.

The film focuses on two sisters who visit Mont Saint Michel after the death of their mother. The younger sister imagines that the local mayor is her father, becomes jealous of his actual daughter. When the mayor’s daughter is found dead, suspicions are on the young woman. However, her sister (who is revealed finally as her mother) wants to prove her innocence. Two friends from her school days are on the island, one a guide, the other a doctor. The doctor comes under suspicion – especially when a rather sinister monk is also murdered. However, the death is ultimately revealed as an accident with an approach to the young woman by the guide. This makes the film more of a time passer than a serious psychological drama.

1. A film of psychology relationships? The mystery?

2. The settings, the island, the monastery, imposing beautiful, its size, dominating the countryside and the sea? The use of the monastery throughout the film? Elise’s question? Score?

3. The opening, Elise going into the water – and 30 minutes later its being shown something of a red herring?

4. Elise and Audrey? Their mothers death? Audrey and her memories of her mother being pushed the staircase the argument about who was her father? This haunting Audrey? Especially in the monastery, in the light coming from the sky – in the meeting of the cosmos with vibrations of the universe, the reality of what happened, the accidental death of her mother? Audiences believing this or not? Audrey and the revelation about the mayor, his not being her father?

5. Audrey as a character, withdrawn, struck by lightning, the hospital, amnesia? Her wanting to get away in the truck? Elise bringing her back to the centre of the street, remembering the truth? Under suspicion?

6. Elise, the background, growing up in Mont St Michel, friendship with Yann and Romain? Studies, leaving? An interpreter? Her return – and the truth about her relationship with Romain? Her being the mother of Audrey?

7. Yann, his wife, friendly, right? The tour of the monastery? His concern, help? The revelation that he had killed the young woman? The accident? The medal and the clue? Planting it? The death of the monk?

8. Romain, doctor, in love with Elise? Her leaving? The return, the relationship? His being under suspicion? The revelation of the truth?

9. The Mayor, his friendship with the girl’s mother, the implication that he was Audrey’s father? Not the truth? His own daughter, his concern, the death? His grief?

10. The daughter, friendship with Audrey, going out together, her death? The attack? The revelation of what really happened? Their trying to help Audrey?

11. The monk, his talk about the cosmos and the vibes? The medal? Confronted by Elise? His death? The police inspector, suspicions, doing his job, interrogations?

12. The melodramatic ending, two of the monastery? Yann and Audrey, the threats? Romain and his wanting to rescue the women? Audrey falling over the parapet, Elise reaching out, Romain bringing her to safety? And the happy ending?