THE SUNSET MURDER CASE

US, 1938, 63 minutes, Black and white.
Sally Rand, Paul Sutton, Reed Hadley, Kathryn Kane, Dennis Moore.
Directed by Louis J. Gasnier.

This is a very modest production, of slight historical interest except for the presence of Sally Rand but otherwise very ordinary – the musical number sequences, very arty or very artsy – but not particularly interesting; Sally Rand doing a performance, lightly clad, with a giant balloon, another where there is an introduction by heavily clad dancers followed by her exotic performance with a large fan due to. Kathryn Kane, billed as Sugar Kane with the punning character name, Penny Nichols, has a musical number.

And the film is not a murder mystery. Rather, a police chief is killed in action, investigating a blackmailing crime series. His daughter, Sally Rand, has previously been an exotic dancer in London, called Valerie, and plans her return to the US after five years as a cover for her to infiltrate the nightclub world and bring to justice the killers of her father. This she does, although getting into complex difficulties towards the end, getting the attention of the club owner who authorised the murders and managed the blackmailing cases, put under guard where she applies the man with drink as well is the villain’s girlfriend.

She has caught the attention of a newspaper reporter who keeps investigating the case, getting the help of Penny Nichols, Sugar Kane hamming it up as dumb except in her singing performance. The daughter also has the attention of a rather censorious lawyer who becomes infatuated with her – and they will come to the rescue at the end.

The film was directed by Louis J. Gasnier, a Frenchman who went to the United States to work for Pathe in 1912, promoted Pathe films and then directed a number of small budget features.

CRIME DOCTOR

US, 1943, 66 minutes, Black-and-white.
Warner Baxter, Margaret Lindsay, John Litel, Ray Collins, Leon Ames.
Directed by Michael Gordon.

Crime Doctor resembles the small budget and supporting features of the 1930s – although, it was made at Columbia with more proficiency and finesse during World War II, with references to the war effort.

It is based on radio programs – and there were half a dozen sequels with the Crime Doctor in action.

The title refers to a character who was seen being thrown from a car onto the highway, who is taken to hospital but suffers from amnesia. He is played by Oscar winner, for In Old Arizona, Warner Baxter. He comes under the care of a kind psychiatrist played by Ray Collins. When recalling his name or identity becomes impossible, he is encouraged to do studies and, over the period of 10 years, gets his degree, becomes an expert in psychology, has a large clientele whom he rehabilitates with personalised treatment, works in prison with great success including a damaged war veteran, Leon Ames in a good performance. A social worker played by Margaret Lindsay is attracted to him.

The audience actually knows who he is, a bank robber who masterminded a job, hid the money, was hit over the head by his accomplices and thrown out. One in particular has served a jail sentence, John Litel, and is tracking down whether the doctor has true amnesia or not. After coming out of prison, he teams up with his accomplices, tracks down another who is serving a jail sentence and persuades her to go to the parole board which the Crime Doctor now heads. In attempting to re-create the situation with the attack by his accomplices, the doctor’s memory comes back, he retrieves the money giving it to the authorities, stands trial, is found guilty but offered clemency to continue his work.

The film was directed by Michael Gordon at the beginning of his career. He was to go on to make a range of films including Cyrano de Bergerac and Pillow Talk.

1. An interesting and small-budget crime thriller with a positive outlook?

2. Cast, budget, studio, contribution to the war effort?

3. The title, with reference to Robert Ordway, a significant character – and many sequels?

4. The opening, the car on the highway, throwing out the victim, his being found by the group of youngsters, the hospital, the work of Dr Carey, the name Robert Ordway from the hospital and the humanitarian, trust, a desperate need to know who he was?

5. The encouragement of the doctor, Robert’s studies, the detail, over a long time, his degree, his going into practice, the help to so many people? His work in prisons? The inmates, changing their lives positively, the gardener and his flowers? The problem with the military and violent man? Ordway meeting him, the discussions, trust, getting out of solitary, getting him to use his military skills, drilling the prisoners, the buildup to the demonstration of the re-creation of the training work?

6. Dr Ordway, in himself, the problem of his identity, the meeting with Grace, her joking with him about her identity as a thief? Their collaboration?

7. The criminals, Emilio and the initial encounter with the doctor, his jail term, meeting up with the accomplices, tracking Grace, getting the information from her, his encounter with Dr Ordway and not sure whether he was telling the truth or not?

8. The plan was the woman in prison, her recognising the doctor’s voice, going to the parole board, is breaking down, her telling the truth?

9. The confrontation, the recreation of the scene, the scuffle, Dr Ordway recovering his memory?

10. His doing the right thing, giving back the money, standing trial, the prosecution, his defence, the jury’s decision, the sentence, the appeal for clemency, and his being able to devote himself to his work?

DOUBLE CROSS

US, 1941, 61 minutes, Black-and-white.
Kane Richmond, Pauline Moore, Wynne Gibson, John Miljan.
Directed by Albert H. Kelley.

This is one of the more entertaining small-budget supporting features that were prominent in the 1930s – often with John Milton as hero or villain . Here, he is definitely the villain.

The film focuses on the nightclub world and the criminal activities, with the mayor of the city in the pay of the nightclub owner, protecting him. The police have become very suspicious and are trying for opportunities to have raids and arrests. When they do, one of the significant figures in the police force is in the club, infatuated with one of the bosses – with her drawing a gun, his gun, as the police invade, shooting one and the police retaliating, shooting the policeman. As he dies in hospital, he warns his best friend that the club owner is after the police chief, this man’s father. The photography girl at the club is the dying man’s sister and planning to marry his friend.

When the officer warns his father, his father stubbornly declares that he will never resign. In the meantime, the mayor is being forced by the authorities to consider the father for a significant role in the city – which leads to a gun attack on his office. The son has an idea to get to the criminals, going to the woman manager at the club, returning the ring from his friend, persuading her that he is going to resign from the force and go out on his own. She gets the idea that he should not resign but keep in contact with them, supplying them with information. He uses a ruse, parking her car near a hydrant, to regain her confidence when she is given a ticket and he punches out the officer. He is dismissed in disgrace, his father embarrassed and angry.

In the meantime, he ingratiates himself with the club owners, supplying some information, being commissioned to drive a truck full of stolen goods after a plan had gone wrong and there was a suspicion that he was on the side of the police but he is able to persuade the club owners that he is on side.

In the meantime, when the mayor comes to visit the club owner, the photography girl is persuaded to take a photo of the meeting – which leads to the ex-policeman being discovered in the photography shop waiting for the development, the taking of the girl, under guard from a friendly bodyguard at the club was always wanting her to take his picture.

When the word comes to the police, the police chief realises that this is a frame up. In the meantime, the son gets a message to his father, all leading up to a chase, the nightclub owner and his thugs in the back of the van with their guns, but the police outwitting them at outgunning them and their all being killed. The father is proud of his son, the girl is able to marry her fiance – and as they pose for a photo, the bodyguard puts his head in and, at last, get his photo taken!

One of the better examples of this kind of film – building by the early 1940s on the extensive experience of the 1930s.

THE CHILDHOOD OF A LEADER

UK/France/Hungary, 2015, 115 minutes, Colour.
Berenice Bejo, Liam Cunningham,, Tom Sweet, Stacy Martin, Robert Pattinson, Rebecca Dayan, Caroline Boulton, Yolande Moreau.
Directed by Brady Corbett.

This is quite a disturbing film.

It is set in France in 1918 in the aftermath of World War I, the diplomacy at the Versailles Conference, discussions about the Treaty, the future of the defeated countries of Europe.

The particular setting is a mansion in a forest, an isolated area, something of a refuge for the diplomats involved in the discussions, particularly Liam Cunningham as the father of the family. Berenice Bejo is his wife. But the focus is on their child, Prescott, played with an eerie presence by Tom Sweet.

The title indicates that our attention should be on Prescott. He is not a likeable child, but there is some sympathy for him growing up in this household, the severity of his father, the sometimes neglect of his mother, the attentions of a teacher who tries her best to educate the boy.

There is also a religious background, Catholic France at the time, with scenes of a priest and Christmas celebrations – and Prescott’s unpredictable reactions to them.

What emerges is a boy who is partly spoiled, partly neglected, a boy who wants his own way, who dominates other children, and even dominates the adults.

The audience is to bring to mind the meaning of the title, the period between the two world wars and the rise of fascism – the film being something of an allegory of what have might been the upbringing and the influences on the two major fascists of this inter-war period, Hitler and Mussolini. But, it is also suggested, that there were many fascist regimes which emerged during this period, thinking of Franco’s Spain and the various kingdoms which were going to collapse in Eastern Europe.

Eventually, the film goes forward 20 years, to the time of the outbreak of World War II and the boy emerging as a Leader, fascist in appearance and manner, played by Robert Pattinson (suggesting Prescott is the son of the family friend, Charles?)..

To emphasise the eeriness of this drama, there is a powerful score which many might think that it is too insistent, but bold cords, bold pounding of the instruments, sometimes strident and certainly creating an atmosphere.

The film was the work of Brady Corbett, a child actor in such films as Mysterious Skin, making a variety of films in Europe, moving into the world of production, writing and direction.

As has been said, and needs saying again, quite a disturbing experience.

1. A different cinema experience? Going back in history? World War I, Europe? The US? Politics? The background of fascism?
2. The director, his acting career, his first film?

3. The role of newsreel footage, the extent, trench warfare and the images of World War I, the transition to Woodrow Wilson, American involvement, the politics, leading up to the Treaty of Versailles? The later introduction of footage from the 1930s?

4. The musical score, the pounding effect, catching the audience up?

5. The locations in France, the countryside, the house, the church, the town? The contrast with the fascist state, the meetings, the buildings, the troops?

6. The framework of the three tantrums and the aftermath? Signs of what was to come? Prescott as a bastard?

7. The use of English, French? Comprehension, translation, authentic feel?

8. The home situation, the father and his diplomatic role, with Woodrow Wilson, the meetings, going to the city? The meeting at home, discussions at home? His wife, meeting, her marriage, his age, relationship with his son? his not learning much French? A man married to his job, his relationship with his wife, telling her that he wanted another child?

9. The opening sequences, the dark, the church, the children preparing for the Christmas pageant, the dress, the wings? Prescott and his getting the stones? Throwing them at people? Running into the forest, hitting the tree, carried back, the effect?

10. His mother, criticising him? Finding him trying, his not speaking to her? His relationship with the servants, his relationships? Ada and the French language classes? Getting on well with her? Mona, spoiling him, the affection? The mother and her attitude to her husband, the background of the marriage and her explanations, her coldness towards him, indulgence towards her son? Reaction to his wanting another child?

11. The church, the religious services, the sermon, the visit to the priest, his listening to the situation, reasonable, suggesting an apology from the boy, after Mass and Prescott apologising to everyone who went by?

12. Charles, his visit, the discussions with the father, a surprise visit, his interactions with the boy, intervening? His friendship? The wife writing a letter, asking his help? his arrival for the dinner, guest, amiable? his intervening with Prescott? The later images of Prescott as an adult, Robert Pattinson in the role? The boy’s father?

13. Prescott, his behaviour, age, American in France, managing with the language, refusing to eat the meal, going to his room, the layout of his room, the desk, the books? Wanting his own way? The French lessons and his improvement? Touching Ada’s breast, her wanting apology, his reaction? Secluding himself in his room, Ada to come back in three days, his writing the story, reading it to his mother and Ada? Mona, her fostering Prescott and spoiling him?

14. The mother, upset, writing the letter to Charles, interactions with her husband, with her son, listening to the story?

15. Her reaction to Mona, sacking her? Calling Ada to account, writing of the cheque?

16. The boy, his clothes, mistaken for a girl? The dinner, the guests, invited to say grace, his refusing to say grace, his tantrum, upset, pursuit, the door, his father breaking it down, beating him?

17. The end of the war, the Pathe news? The meetings, celebrations?

18. The transition to 20 years, the end of the 1930s, the period of fascism? The meeting, the discussions of the politicians, advisers, going downstairs, the arrival of the leader
in the car, the troops?

19. The portrait of the childhood of the leader, the reasons for his behaviour, love and absence of love, wilful, enjoying power, whims, and needs? The irony of his father?

20. The final images, confusion, everything going topsy-turvy – the overthrowing of fascism?

MONSTER TRUCKS

US, 2016, 105 minutes, Colour.
Lucas Till, Jane Levy, Rob Lowe, Danny Glover, Amy Ryan, Barry Pepper, Holt Mc Allany.
Directed by Chris Wedge.

With a title like Monster Truck, it seemed as if this would be an animation film, Monsters Inc… However, it is a live-action show – although it plays very much in the vein of an animation film. Its target audience would be children and teenagers.

Ultimately, there is a message very much in favour of the environment, the impact of drilling, discoveries in the various levels under the surface of the earth, business exploitation, lies and cover-ups. Rob Lowe is the arch-villain, manager of a drilling company, hiring yes-men as scientific advisors as well as thugs to do his dirty work. When he gives the go-ahead to keep drilling despite warnings and dangers, much of his enterprise goes up in explosions. But, the real surprise is that in hitting an underground water level, he brings prehistoric creatures to the surface!

In the meantime, Trip (Lucas Till) lives with his mother, goes to school where there is a rivalry with a rich kid with a big rich vehicle, a very serious-minded science student (Jane Levy), and an eye being kept on him by the local sheriff (Barry Pepper) who is rather keen on Trip’s mother. There is also an agreeable old man (Danny Glover) who runs a local garage and vehicle destruction enterprise.

The main action is a kind of variation on Free Willy, one of the rather large creatures, looks like an early dolphin but has octopus tentacles, quite large. But, it is rather endearing in its behaviour, hiding from the boss’s thugs under a truck, squeezing itself into the truck itself and, with energy and speed, can outrun any vehicle and any monster truck!

Which sets the scene for the adventures to come as well as the action stunts and special effects.

When it is discovered that there are several other creatures in the boss’s captivity, looked after by a meek scientist, Thomas Lennon, who has a change of heart, of course, and wants to participate in the freedom of the creatures and return them home to the earth’s depths.

This requires the reconditioning of several vehicles, with the help of the old man as well as one of Trip’s friends, son of a wealthy car dealer. And, when all is ready, there is a huge chase through the mountains, the creatures powering the vehicles, barriers put across the highways, huge leaps, characters dangling from open doors – but nothing like a big tentacle to remedy the situation!

It all builds up to a huge confrontation, the creatures going back home into their deep hole, Trip falling in but, perhaps this is a spoiler alert but everybody will be ready for it, the benign creatures saving him and restoring him to mother, sheriff, girlfriend, and a happy life because his contribution to saving the world!

1. The target audience? Response of younger audiences, boys, girls? Adult response?

2. The focus on trucks, on machines and machinery, on working with machinery, working on cars and trucks? The roller derby and the action?

3. The environment, exploitation, fossil fuels, breaking the law, money deals and silence? Buying the police?

4. The environment, life, new creatures and species, protection? The establishing of the situation, Tennyson, the boss, Daniel the scientist, the drilling, information about the water level, the ethics, the decision, the drilling, the enormous explosion, destruction, and the creatures surfacing?

5. Trip, his age, relationship with his mother, the absent father, with Rick, Rick as the sheriff? Riding his bike? In the bus, the rival student with his flashy car? Trip as ordinary, school, meeting with Meredith, pairing with her for science? His friendship with the wealthy boy, son of the car dealer?

6. The old man, his work, the crushing of the cars, the emergence of the creature, Trip hiding, calling the police, the creature vanishing?

7. The creature, part dolphin, giant squid, big eyes, the smile, the teeth and the mouth?

8. Tennyson, handling the situation, taking the two creatures with Daniel caring for them? Burke and his cohorts, the search, breaking the law?

9. Daniel, with the creatures, fostering them, learning that they needed oil, their playing of the musical sounds, communicating with each other? His delight?

10. The creature going into the truck, Burke arriving, Trip concealing him? Manoeuvres with the truck getting away?

11. Meredith, study, interest in biology, coming to work with Trip? The drive, the discovery of the creature? Excitement?

12. Trip, his absent father, seeing him on the television, going to see him, his caravan, his long absence, his communicating with Burke, his apology to Trip, the van going through his caravan?

13. The creature with Trip and Meredith, going to the water, the swimming and enjoyment, the electric energy, going to the garage for oil? Meredith’s credit card?

14. Rick, discussions with Burke, the two assistants, not believing Trip? The two underlings giving the information to Burke? Rick, the pursuit?

15. The stunts and action with the truck and the creature? Streets, side streets, above the street, sideways, leaping over the roofs? The pursuit, leaping over the train carriage? Rick and his reaction?

16. Trip and Meredith taken, the confrontation with Tennyson? The creature coming, invading, reunited with the members of his family?

17. Daniel, the decision to save the creatures? Trip and his idea, getting the trucks, from his friend at the dealership and allowing him to help? Taking his rival’s truck and repossession?

18. The work, during the night, everybody involved, the re-conditioning?

19. Daniel and his help, becoming one of the drivers? The details of the pursuit, excitement, the different terrain, the fire across the road, the cliffs, the creature doing rescues?
The decision of the three cars to leap? The poison trucks? Burke, the confrontation, edging Trip over the edge? The rebound and his hitting the poison tanks?

20. Trip, in the water, the creature saving him, all the creatures gathering to farewell him and thanks?

21. Tennyson arrested, Daniel happy as a geologist? The review of all the characters, Rick and Trip’s mother, the old man? And the future with Meredith?

MURDER AT GLEN ATHOL

US, 1933, 64 minutes, Black and white.
John Miljan, Irene Ware, Iris Adrian, Noel Madison, Oscar Apfel, Barry Norton, Harry Holman, Betty Blythe, James P. Burtis, Wilson Benge.
Directed by Frank R. Strayer.

Murder Glenn Athol is one of many small-budget murder mysteries and crime dramas directed by Frank R. Strayer during the 1930s. At the end of his career, in the late 1940s, he moved to films with more religious themes including The Pilgrimage Play.

This film runs like a filmed play, a focus on confined rooms, dialogue – as well as the intricacies of a murder mystery.

The star is John Milton, prolific player in the 1930s of many similar films, tall, an imposing presence, moustache, serious-minded. He plays a detective who writes books, on holidays with his strange assistant, Jeff (James P.Burtis, a prolific character actor in the 1930s, sometimes 10 films a year, dying in 1939).

Next door to the holiday house for the detective is a society family, plenty of skeletons in the closet, a dipsy young woman played by Iris Adrian, who has married and divorced well, with her elderly and wealthy ex-husband at the party, her present husband in an institution, his brother the target for her next husband. Her mother, Betty Blythe, is hosting the party along with her friend, a local wealthy man who has an influence with the police. In the background are criminals, pursuing the young woman because she has incriminating letters which they want to retrieve. Also present is a demure young woman, a friend of the mother, Irene Ware.

There are several murders, an attack on the alleged killer who seems to be confessing – but, of course, is not, though the police think that he is. The detective begs to differ, does his own investigation, his friend Jeff also finding clues – with a visit to the institution, a discussion with the doctor, one of the butlers (Wilson Benge a perennial butler in movies) discovering a dagger and some poison buried in the garden, and another discovery seeming to incriminate the demure woman with whom the detective is becoming infatuated.

When the detective has some chicken, prepared by Jeff, who is a rough-and-tumble type who has saved the detective’s life and the detective has saved his life several times, who can turn on the good manners at a moment’s notice, he realises the chicken is rather rigid, rigor mortis comes to mind and the solution to the murder. In the meantime, the criminals have threatened the other butler to phone the detective to demand his presence. Some mishaps, some shootouts, a car chase with the detective and Jeff shrewdly parking their car and shooting at the criminals as they drive past!

When he realises that the dead woman’s mother-in-law was heard talking to the woman when, the detective realises, she was long dead, there is an assembly of all the characters, in the Agatha Christie vein, and the detective setting up a situation where he made as if he was talking but that no one was actually listening – and the mother emotionally collapses.

And romantic ending on board a liner, Jeff allegedly on land but appearing at a porthole having stowed away on a lifeboat!

 

 

 

 

 

THE STUDIO MURDER MYSTERY

US, 1929, 62 minutes, Black-and-white.
Neil Hamilton, Doris Hill, Warner Oland, Fredric March, Chester Conklin, Florence Eldridge, Eugene Pallette.
Directed by Frank Tuttle.

Audiences noting the date, 1929, might expect something of a B-budget rather rickety film. In fact, it is better than quite a number of films of this period although it is still a B-budget film but from Paramount Studios.

The film begins with what looks like a murder but is actually a rehearsal for a film, Fredric March, a wealthy man, a serial philanderer, wanting to act in films. His director is played by Warner Oland, later Charlie Chan. It immediately emerges that the director is jealous of the actor and his relationship with his wife. Almost immediately, a young actress, daughter of the security guard, comes to the office of the actor who declares his love for her and a divorce from his wife. Then his wife turns up, played by Florence Eldridge, March's real-life wife for decades, who threatens her husband who declares his love for his wife, no divorce, with the young actress overhearing everything.

Also in the complication besides the security guard is his son, a taxi driver, protective of his sister, as well as the main star, a somewhat irritating screenwriter (irritating to the audience as well as to the characters in the film who reject his ideas), and the guard at the gate. There is also the studio head and then the police.

Perhaps this was something of an original idea in 1929, but the clues are signalled very early and for most audiences the solution will not come as a surprise at all.

In the vein of the times, thinking of Agatha Christie and Hercule Poirot, the five suspicious characters are assembled in a room, the screenwriter is attacked by the actual murderer after he realises what has happened, but he gives the solution to the police – and all is well.

Interesting to see Fredric March in a very early role, winning an Oscar three years later with Dr Jekyll and Mr Hyde, as well as Florence Eldridge and Warner Oland. Eugene Pallette, also to have a successful career as a character actor, appears as a self-important detective. Director Frank Tuttle was continue to make pictures into the 1950s.

 

 

A SHRIEK IN THE NIGHT

US, 1933, 66 minutes, Black and white.
Ginger Rogers, Lyle Talbot, Harvey Clark, Purnell Pratt, Lillian Harmer, Louise Beavers.
Directed by Albert Ray.

A Shriek in the Night is notable as being one of the earliest of Ginger Rogers’ films. She co-stars with Lyle Talbot and they appeared later in 1933 in another murder mystery, the 13th Guest.

This is a murder mystery, a wealthy man falling from the top of a building, the police investigating, his secretary being present at the time – although, it is soon revealed that she is a journalist who has been suspicious of the man and his dealings with criminals. There are several other murders in the building.

Lyle Talbot is a go-getting reporter who pushes his way into the investigation, picks up a phone where the secretary is dictating her exclusive story to her editor, so she thinks, but has given it to her rival who sends it to his paper where he receives splash headlines. The two reporters, of course, have a past together. There is an amusing twist where to get her revenge, she spins him quite a tale about what happened – only to discover that he has tried to make things right by phoning it in in her name to her paper!

There are complications with criminals and the deaths. However, the solution runs along a different line, information given about a man who was executed, a victim of the criminals – and it is the caretaker of the building, who seemed innocent at first but then attacks the reporter, who was getting revenge because the executed man was his brother.

One of the most striking things about the film is its black-and-white photography, quite an emphasis on light and darkness, especially darkness, very much in the vein of German Expressionist films, worth looking at for this reason as well is the touch of murder mystery and some screwball comedy.

PATRIOTS DAY

US, 2016, 133 minutes, Colour.
Mark Wahlberg, Kevin Bacon, John Goodman, J. K. Simmons, Michelle Monaghan, Christopher O' Shea, Rachel Brosnahan, Jimmy O. Yang, Melissa Benoist, Alex Wolffe, Themo Melikidze, Michael Beach.
Directed by Peter Berg.

It is sometimes surprising how quickly actual events make their way to a big budget film, especially in the US. Patriots’ Day, the story of the Boston Marathon of 2013, the terrorists who planted explosives, killing and injuring bystanders, and putting the city of Boston into lockdown during the pursuit of the perpetrators.

Some commentators say that this kind of thing is opportunistic, taking advantage of the opportunity. However, this film is very careful to draw on actual characters and aspects of the events, especially with the real characters appearing at the end of the film discussing the issues, the police, the FBI investigator, and a young couple both of whom were injured, treated in different hospitals, had a leg amputated. The film then offers tributes to those who acted in heroic ways.

But, for the drama’s sake, the central character is a fictitious policeman, drawing on various characters on the day and its aftermath. Perhaps Ben Affleck and Matt Damon were not available for the film but Boston’s other famous son, Mark Wahlberg, plays the policeman. While the screenplay follows him, his character, his involvement, his contribution to the apprehension of the terrorists, there is quite a lot more going on. But, his story gets the audience in the mood, seeing him involved in a raid, injuring his leg on a recalcitrant door, his time in hospital, his love for his wife, Michelle Monaghan, his relationship with the police chief, John Goodman, and his being ragged by his fellow police because of his rather challenging attitude towards authority. On the day, he is on duty, joked about because of his uniform looking like a crossing guard, at the finishing line.

The film holds the attention – but, in some ways, it is several films in one.

The first part of the film is really Boston’s preparation for the marathon, the logistics of setting up the route, the officials and their role, the assembling of the runners, the role of security, the crowds arriving, the running...

The screenplay uses the device of signalling on-screen the particular times on the day of the marathon, and then listing the hours that have passed since the explosions, over a period of several days. This also gives the opportunity to introduce a range of characters, police, Mayor, Massachusetts Governor, the runners, the young couple who were to be injured – and, especially, the brothers, the terrorists, at home, with the family, breakfast, the packing of the explosives and their setting out on their mission.

Then there is the terrorism, the explosions, the uncertainties, the fear, the reaction of the crowds, the visuals of those injured, a policeman standing guard for the day over the covered body of a young boy, the ambulances, the work in hospitals, the pressures and difficulties, amputations.

While local police are involved in the investigations, it becomes a task for the FBI, Kevin Bacon as the official in charge, rather stony-faced (especially in comparison with the more genial real person who appears at the end of the film). The investigation is shown in quite some detail, taking over a warehouse, the drawing of the route on the floor, individual officers involved in scanning CCTV. Mark Wahlberg gets a chance to become involved when it is pointed out that he is an expert in knowledge of the local streets – and it is intriguing to watch his suggestions about the route of the suspects, who are glimpsed on CCTV with their black cap, white cap, and where they might have walked from, how much time, looking to the next camera and tracing their route.

The investigation continues during the next phase of the film which is the pursuit of the criminals themselves, their packing up, their plan to go to New York for more explosions, their taking a car, driving to Watertown with the role of the police there, and J. K. Simmons in charge. The terrorists take a hostage from the street, a young Chinese- American (and this actually happened), who was able to get out of the car, hide in a supermarket while the younger terrorist is buying food, and phoning the authorities. There is a huge shootout in the street and the older brother is killed.

The younger brother disappears and, those familiar with the story, may remember that he hid for several days in the suburbs under a tarpaulin covering a boat in the yard, ultimately caught and, again, a shootout. In the meantime, there is also an interesting episode where the wife of the terrorist is brought in for questioning, a very tough interrogator respecting Muslim dress and manners but extremely menacing nonetheless.

In an era of terrorism, it is interesting, if often distressing, to see the re-creations of these well-known episodes. The Boston experience was not as dire as the terrorism in Paris, Brussels, Nice, Istanbul, Berlin…, but significant nonetheless, especially the terrorism on US soil after 911. Many audiences may be thinking – and at one moment the screenplay makes this explicit – that people in war-ravaged countries, especially Syria, experience this kind of devastation day by day, more extremely so, the effects on individuals, families, injuries and deaths, destruction of buildings, and the extraordinary demands made on doctors, nurses and medical personnel. Sobering.


1. The historical events? People? A perspective on 2013, USA? The fiction elements, the facts?

2. An opportunity to look at the events after three years? The time, so soon? American terrorism? Responses?

3. The city of Boston, the place of the Marathon, the spirit, the crowds and participants, onlookers? The police and security? The explosions, the treatment of the victims, the care? Local police and investigations? The FBI? The methods? The pursuit of the bombers, shootouts, Boston lockdown?

4. The range of genres in the one film? The shift from one genre to the other? The effect? Cumulative?

5. The ending, the reality of the characters, the events? The tributes?

6. The director, his skill in action film? The cast – and their corresponding to actual characters? Mark Wahlberg and his being a Bostonian?

7. The title, the focus on the day, the Marathon itself, the crowds, the preparation, the range of logistics, the runners and their range and differences? Participation? Celebrities and celebration?

8. The films device of having the times on screen, building up to the explosion, the explosion and listing the hours after it?

9. The introduction, the different times, the range of people introduced, Tom and his work, bashing down the door, hurting his knee, going to hospital? Carol and her concern? Ed Davis and the other authorities? The families? The couple and their preparation for the day, comments on pronunciation? Sgt Jeffrey Pugliese, his wife and the muffin? The terrorists at home, the brothers, the wife and child, watching the television? The young Chinese man? The MIT students and the robot, the sympathetic policeman? The day progressing?

10. Tom, the fictional character, his attitude towards authority, outbursts, fellow police, the jokes, his injury? The challenge for him to be reinstated? On security at the finishing line? Getting his wife to bring the help for his leg? The mayor, the governor? Tom and his surveillance, the jokes, his wife coming?

11. The MIT students, the robot, the work amongst themselves, the policeman, arranging the date?

12. Young Chinese man, discussing technology, the apps?

13. People arriving for the marathon, the couple, the father with his three-year-old son…?

14. The terrorists, at home, the wife and child, the brothers, their interactions, argumentative, each dominating in their way, the younger man in his drug background, his studies, the preparation of the bombs, watching the television, the plan, travelling to the race? The ideological motivation?

15. The friends of the bomber, at the university, drugs, texting, watching the TV, deciding not to give any information, the later information that they were charged with obstruction?

16. The suddenness of the explosion, its effect, visually, the boy dying, covered and the policeman standing guard? Panic, injuries? Tom, the work of the police, the crowds, concern about his wife, the medics, the ambulances, the severed limbs, the hospitals and surgery, the pressures, time, amputations, the separation of family victims – and the later being reunited?

17. The work of the local police, Ed Davis and his role, Tom and his assertiveness? The arrival of the FBI, the officer in charge, his being stern, the issue of jurisdictions? The role of the media? Finding the large space, the layout, the use of the floor for diagrams of what happened? Laying out the evidence, the map of the streets? Technology, phones, desks, surveillance and the video footage, those watching? Tom, his advice about witnesses? His being called in because of his knowledge of streets, the surveillance identifying the terrorists, working out the routes, the time taken, finding the surveillance footage? The white cap and the black? The two men seen as being linked? The big issue of whether to release the photos to the media or not, waiting, Fox News and breaking the images? The press conference, the FBI chief and the explanations and appeal to the public?

18. The policeman outside MIT, the girl coming out, the date, his being shot?

19. Pugliese, his background, in Watertown, quiet place, the work of the police?

20. The brothers, at home, the wife, the clash, going out to buy the milk, on the video camera? The decision to move, the car and the explosives, to go to New York? Abducting the young Chinese man, hostage, his fear, control, the getting petrol, food in the shop, the young man making his escape, flight, hiding, phoning the police? The immediate follow-up?

21. The brothers bickering amongst themselves? Mutual blame? Watertown, the range of police, their becoming involved, following the cars, the shooting, the bombs exploding, the deaths? The death of the brother? The other escaping?

22. The calling in of the wife, the expert interrogator, her dress, Muslim customs, the threats, her questions – and not getting anything out of the wife, the wife’s defiance?

23. The lockdown of Boston, identifying the fingerprints of the terrorist in the surgery, identifying him?

24. The visuals of the lockdown, Boston quiet, the streets? The man with the boat, suspicious, phoning the police, their arrival?

25. The siege of the boat, the weapons, capturing the terrorist?

26. The experience of the city, the interviews with the characters at the end, especially the couple and their reflections, the photos of the actual people? The experience of terrorism in the US? The reminder of the daily equivalents in other countries like Syria? The American response?

JACKIE

Chile/France/US, 2016, 100 minutes, Colour.
Natalie Portman, Peter Sarsgaard, Greta Gerwig, Billy Crudup, John Hurt, Richard E. Grant, Casper Phillipson, Beth Grant, John Carroll Lynch, Max Casella.
Directed by Pablo Larrain.

Jackie has received quite some critical acclaim.

Older audiences will bring their memories of November 22, 1963 to mind as they watch the film. So powerful was the news of John F. Kennedy’s assassination in Dallas that many people in succeeding years declared that they could remember where they were when they heard the news. The memory of the assassination was initially perpetuated with the killing of assassin, Lee Harvey Oswald, by Jack Ruby, the day after the killing – and the consequent decades of conspiracy theories.

Which may mean that younger audiences, for whom this story is history from half a century ago, may not be caught up in the spirit of this portrait of Jacqueline Kennedy in the immediate aftermath of the assassination of her husband, the swearing-in of Lyndon B. Johnson as president, the fears throughout the United States, the uncertainties, and the preparations for the funeral and the actual march from the Capitol to the cathedral.

So, this is a portrait of Jacqueline Kennedy, the rather aristocratically-styled wife of the president (with her strange uppercrust accent), her presence in the car when her husband was shot, cradling him, wearing the pink suit and hat for which she was remembered, smeared in blood. It is a portrait of a woman who bore herself with great dignity, made decisions, along with Robert F Kennedy, about the funeral with great desires about how her husband would be remembered.

The narrative is not straightforward, rather the to-ing and fro-ing, especially in the week of the assassination and its aftermath. There is a principal flashback interspersed throughout the story, the 1961 television program where Jacqueline Kennedy hosted the television audience in a tour of the White House to make it more accessible, “the people’s house�, with an appearance of her husband at the end of the program. She is rather nervous, being urged to smile by her assistant, Nancy, rather relieved when her husband arrives.

Natalie Portman gives a striking performance as Jackie Kennedy, often very self-contained, introspective, alone with her grief, wandering the White House in a collage of guns and jewellery, to the accompaniment of Richard Burton singing the title song from the musical, Camelot. She is tender with the children, finding a way to tell Caroline and John that their father has gone to heaven and is with their brother, Patrick. She can also be determined, some emotional clashes with Robert Kennedy about the Kennedys keeping secrets, standing her ground in determining the funeral march against the advice of Johnson’s assistant.
The screenplay, by Noah Oppenheimer, writer of popular entertainments like, captures the spirit of the times, the spirit of the Kennedys, some of the social and political issues as well as the personal and spiritual issues. The framework of the film is an interview with a journalist (based on Theodore White who did write a similar article later). He is played by Billy Crudup, attentive, but with many abrasive moments and Jackie trying to determine the way that the article should read.

The screenplay also includes the introduction of a priest confidante, played with robust sympathy by John Hurt, with several intimate conversations between Jackie and the priest, based on the actual father Richard McSorley?, Jackie is able to express her fears, her night thoughts, her wondering about her status, the fact that she had become a Kennedy, wanting to be with her husband – and some practical advice from the priest, about the search for meaning, comforting her that she had received people’s compassion, using the Gospel story from John of the man born blind to remind her that God’s work is to be revealed in mysterious ways, and finally reassuring her that he had his dark nights, but, like everyone, got up the next morning, had a cup of coffee, continued with life, just enough for us to keep going. There is a very moving sequence towards the end where the priest officiates at the reburial of the two deceased Kennedy children at Arlington.

One of the moving scenes is Jackie leaving the White House in the company of her two children. The film uses some actual television footage of the funeral cortege, Jackie walking behind the horse drawn carriage with the coffin, over a hundred international dignitaries marching behind her.

One of the interesting things about the film is that it was directed by the Chilean director, Pablo Larrain (No, about the Pinochet elections of 1988, the biography of Neruda, the film about erring priests, The Club). As an outsider, as a non-American, he has the advantage of not having a more sentimental feel that an American director might bring.

There is a very good supporting cast led by Peter Skarsgaard as Robert Kennedy, Greta Gerwig as Nancy, John Carol Lynch as Lyndon Johnson.

In the film Jackie Kennedy is very conscious of the heritage of Abraham Lincoln, the role of his wife, Mary Todd, wondering what the future will remember about her husband, while Robert Kennedy ponders on all that they might have done had they had the time power in the cut-short Kennedy Camelot.

1. The impact of this portrait of Jacqueline Kennedy? Focusing on one week in 1963, the tragedy, the aftermath?

2. The screenplay, the insights? The interview framework? The focusing on her television show on the tour of the White House? Life at the White House and JFK? Her style, dress, concert at the White House? Echoes of Camelot? 22 November, the aftermath, LBJ, Washington, the logistics for the funeral? Robert Kennedy? Nancy and the family? Memories, clashes, decisions? The discussions with the priest?

3. The incorporation of actual footage, especially for the funeral procession and the dignitaries marching?

4. The score, the discordant and minor tones and chords? The incorporation of Richard Burton singing Camelot?

5. The interviewer, in himself, Theodore White, the article written later than in the film? Jacqueline Kennedy’s view of herself, of her husband, the presidency, Camelot, wanting a monument to JFK?

6. Going to Dallas, the pink suit, on the plane, speaking Spanish, loving crowds, the acclaim?

7. The tragedy, the initial reticence with the visuals? The verbal descriptions, Jackie talking about her husband’s skull, the blood? The later visuals of the event?

8. Lyndon Johnson, taking the oath, Lady Bird with him, Valenti as his assistant? The decisions, the national fear at the time? The role of Robert Kennedy, attorney general? The tension with Johnson, Kennedy getting him to sit down? Lady Bird offering to help Jackie with changing clothes? The issue of exiting the White House? Jackie saying the Johnsons were good to her?

9. Jackie, the grief, asking the driver about Garfield and Mc Kinley, about Abraham Lincoln? Ignorance and knowledge?

10. The television coverage, Jackie hearing the information, especially about Oswald? The presence of the Kennedy family? Rose Kennedy? Ethel Kennedy?

11. Robert Kennedy, his role in the administration, relationship with Jackie, helping, in charge? Shielding Jackie at first from Ruby killing Oswald? Her later discovery, her outburst, the Kennedys and their secrets? Later apology? Robert Kennedy on issues of security? Accompanying Jackie at all the events? Seen in the light of his subsequent history and assassination?

12. Nancy, friendship, the television program, urging Jackie to smile, continued support, her decision to stay with Jackie?

13. The autopsy, Jackie upset, the body lying in state, the transfer? The later visit of Jackie to Arlington, the fog, surveying the headstones, finding a place for Kennedy at Arlington rather than in Boston?

14. Scenes of grief, shock, the pink suit and hat, the blood, cradling her husband, interactions with Johnson, on the plane, at home, taking off the pink suit, the blood, the stockings, the bathroom and scrubbing her nails, the shower? Her smoking, the drink, taking pills?

15. The support of the designer at the White House? His advice, friendship, issues of decor, his comments on security, that she should go back to Boston and live in a fort? His later advice to the Johnsons?

16. The children, their age, Jackie preparing to tell them, talking gently, their father going to heaven, to be with Patrick? Whether he said goodbye? The reaction of the children?

17. Oswald on television, Ruby shooting him, Kennedy turning the television off, not to tell Jackie?

18. Her sitting with the coffin, the clergy present, the children, the Psalms and the themes of hope?

19. Jackie and her sense of history, the White House and its history, lived in by real people, not legends? The decor, the knickknacks, the expenses? Her comment that Jack
could buy votes but not paintings?

20. Jackie walking throughout the house, the different clothes, the picture of Mary Todd, the information about her auctioning the furniture? The range of dresses, the jewels? Playing Camelot? Her comments about Jack and his being led into the desert to be tempted, that he wasn’t perfect, that he was changing? The screenplay returning to the interview, the range of questions, interpretation, Jackie challenging him, upset, giving him information and statements, then denying that she said them? The glimpse of her editing? The character of the interviewer, impartial, his comments, upsetting Jackie without realising it?

21. The distinguished guest list, General De Gaulle, the security, the threat to him? The range of invitations? Jackie and her interactions with Valenti, to walk to the cathedral, changing her mind, change her mind again, doing her job? Giving this information to the guests when they arrived at the airport?

22. The tribute to agent Hill, and his interventions in Dallas?

23. Jackie looking out the car window, asking what was real, what was performance, the Kennedys were not most people?

24. The birthday party for John, three?

25. Robert Kennedy, his reflection about what legacy the Kennedys had left? What had been accomplished? Johnson inheriting this legacy? Civil rights, space, Vietnam…? That
they were seen as the beautiful people, but were ridiculous?

26. The packing sequences, Jackie and the dresses, the men and the cases, her ring being stuck on her finger?

27. The processions, the transfers to the Capitol, from the Capitol to the cathedral, the marchers?

28. The interviewer telling Jackie that she had made her mark on the country, in her mourning, with the children, with her dignity and majesty, and the image of the mother of the country?

29. Moving out, Lady Bird and new designs? Material going to storage? The plaque on the door that the Kennedys had lived there?

30. Images of dance, happiness, Camelot, knights, ideals and a better world?

31. The role of the priest? The close-ups, the discussions, walking? The priest and his manner, Irish? The talk as a kind of confession? His advice, the question of why we are here, that God does not like stories but truth? The Jackie was seeking sympathy, asking whether the priest was listening? His thinking that he was? Jackie stating that God was cruel, the priest saying that it was getting into trouble areas? His declaration that God was love, everywhere? Jackie asking was God in the bullet, in her, his agreeing? Her asking what she did to deserve this? Her comment of not spending nights with JFK, there was more to vows than love? Issues of power, power and love and sexuality? Her asking what men were thinking of her, the priest replying compassion, maybe desire? Her saying that she made men smile? The priest advising that she should take comfort in the memories? Her saying that she couldn’t because they were mixed with all the other memories?

32. Jackie reflecting with the priest, night thoughts, that she should have been a shop girl, married somebody ordinary? The priest telling her the parable of the man born blind, so that the works of God would be revealed in him? That Jackie was chosen, that the works of God were to be revealed in her?

33. Her comment that she wanted to die, and be with her husband? The priest’s comments on search, meaning, that there are no answers, or you accept this – or kill yourself and stop searching? Jackie despising the weakness of those who kill themselves? The priest’s comment and encouragement about turning the lights off every night as he did, staring into the dark, asking if that is all there is, then waking up, having a coffee? That she had done this that morning? Her asking why bother and he answering because we do, and we keep going? It being just enough for us?

34. The re-interring of the bodies of the children, the prayer, the hope, the sadness?

35. American script, Chilean director, American story?