I AM SUZANNE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

THE SPANISH CAPE MYSTERY

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

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

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

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

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

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

Of its time, entertaining.

BOOMERANG

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

Boomerang is not exactly the right title for this film.

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

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

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

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

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

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

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

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

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

3. The title and its significance?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

THUNDER IN THE CITY

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MERES ET FILLES/THE HIDDEN DIARY

Canada, 2009, 105 minutes, Colour.
Marina Hands, Catherine Deneuve, Marie- Josee Crozee, Michel Duchoussoy, Romano Orzari.
Directed by Julie Lopes Curval.

Meres et Filles is an interesting portrait of characters, difficulties in relationships, finding some kind of resolution. As with the title, the emphasis is on mothers and daughters, over three generations – and a possible fourth.

The film is a French- Canadian coproduction, filmed in a town in France, on the sea.

The central character is Audrey, played by Marina Hands, in her mid-30s, having lived in Toronto for 10 years working on projects, in a relationship with an artist, and pregnant. She has returned to France to think over her future with the project, and, especially, whether she should have an abortion or not.

Catherine Deneuve plays her mother, and doctor, cold in manner, efficient in her work, yet relating well to her long-suffering husband, Michel Duchoussoy.

Audrey cannot stay at home because of the atmosphere and decides to stay in her grandfather’s house, her grandfather recently dead. This gives her space to study, to reflect on the abortion, to relate to her parents and her brother and his family. She discovers a diary by her grandmother who had mysteriously disappeared, condemned by her husband as having stolen from him. But, the alleged stolen money is also found, and, gradually, the realisation is that the grandfather had killed his wife.

The film also uses the device of Audrey imagining her grandmother, Marie- Josée Crozee, her life with her husband, her hopes, her diary, her cooking and her recipes – as well as, in the fantasy, her giving advice to Audrey.

What her mother is unwilling to read the diary, she ultimately does, realises that her mother had really loved her and her brother, had great hopes for them, and had not disappeared because of them. There is a mellowing between mother and daughter. The father of the child also comes to visit and there are some discussions about the possibilities of parenting and commitment.

Well-acted and well-written, continually interesting.

1. The title? The French emphasis on relationships? The English emphasis on the hidden diary?

2. French- Canadian co-production, set in France, the town, by the sea, the homes, shops, ordinariness? The musical score?

3. Audrey’s story? Her arrival at the station, the background of her work, research, the possible project, living in Canada? Her being pregnant and not telling people? Her phone calls to Tommy, the discussions, the possibility for an abortion? Her relationship with her mother, her father, at the house, with her uncle and the family and the meal, her going to the grandfather’s house, moving in, buying the machine, setting herself up, doing her work? Her age, her crisis, the unresolved relationship with her mother?

4. The story of the grandfather, his house, his death and his funeral and Audrey not coming? The mystery of Louise, the missing grandmother, the grandfather’s comment about stealing
from him and her disappearance?

5. Audrey, her imagination, Louise coming to life, imagining her life with her husband, his harshness, repressing her, her ambitions, hopes, work, cooking? Her relationship with their children? Her hopes for them? Her disappearance?

6. Audrey finding the diary, the notes, the story, the recipes? Her mother not wanting to read it? Her uncle reading it? The impact, the puzzling, the conclusion that the grandfather had murdered his wife?

7. Martine, doctor, cold in manner, love for her husband, family life, her relationship with Audrey, based on the relationship with her own mother, detached, Audrey going to Canada? Their discussions, Martine and her moods? The dinner, with her son and family? Going to the meal at her parents’ house, leaving? Her love for her husband?

8. Audrey, buying the dress for her mother, Louise’s advice, and her mother finally trying it on? Audrey and her friend, their discussions, telling her she was pregnant, the shop? The old lady, memories of her grandparents?

9. Tommy, suddenly arriving, the discussions, his being an artist, his attitude towards the pregnancy, favourable towards bringing up the child? Audrey and her hesitations? The intimacy between them, his going for the swim, yet the difficulty in commitment?

10. Audrey mellowing her mother, her mother reading the diary, realising after so many years that her mother did love her, was ambitious for her?

11. The open ending of the film, if the better relationship within the family, but a future for Audrey, her work, the child…?

LOST BOY

US, 2015, 88 minutes, Colour.
Virginia Madsen, Matthew Fahey, Mark Valley, Carly Pope, Sosie Bacon, Jacob Buster, Joshua Burrow.
Directed by Tara Miele.

There have been a number of films about child abductions, what happened to the child, the consequences for the grieving family, the possibilities of recovery, and the child finding its place in the family again.

This film opens with home movies illustrating the affection for the child who was taken. 11 years later, the mother, Virginia Madsen, is strongly involved in helping parents to find their children again. She says she lives in hope for the recovery of her son and, if there is no reporting of his death, he could be still alive. She is a strong woman and has alienated her husband with her intensity, he wanting a divorce and intending to re-marry, his intended being pregnant. He has also been looking after their daughter and the son who was born after the abduction.

A young man sees the notice of the search for him and turns up claiming that he is the son. Each parent readily accepts him but there is talk of blood tests and DNA tests to verify.

At first the audience probably thinks that he is not genuine but, as the film progresses, it would seem that he is. But the main point of the film is how difficult it is for an adult to come back after being abducted as a child, with vague memories of the family, upset with what has happened during the years of abduction, abuse, life on the street, and wanting his family and finding other members as obstructing his place in the family and recovery of it, leading to bizarre behaviour towards the other members.

Not quite what might have been expected of a film about abduction – but challenging and offering different points of view.

1. A drama about family, relationships, abduction, the sense of loss, possibilities for recovery?

2. The American city, homes, offices, lakes, the streets? Authentic feel? Musical score?

3. Introduction to Laura, her campaigns, Kyle as co-worker, her energy, her optimism, interviews with parents whose children had been abducted? Her own dedication?

4. The home movies, Mitchell and Summer, their parents’ love, the details, swimming, the kite? The reality of Laura’s obsession? The breakup of the marriage? Greg, his love for his child? His trying to persuade Laura to let go? His relationship with Amanda, her pregnancy? His care for Summer and Jonathan? Laura being late for Jonathan’s performance, his being upset? Summer and her disdain for her mother? Going to see the dead body at the morgue, not their son?

5. Laura putting up the notice, the young man looking at the notice, taking it, a young man on the streets, the mystery of his life? Cutting his hair, going to see Laura? Her recognising him? The impact on her, the impact on him? Letting Greg know, Greg recognising him? Summer’s reaction, Jonathan’s reaction? Amanda and her wariness?

6. The need for identification, the birthmark, Mitchell’s tattoos covering it? Going for the blood test, Mitchell taking the syringe, wanting Jonathan’s blood? The DNA swabs?

7. Audiences wondering whether Mitchell was the son or not? Indications that he was not? Indications that he was? The mixed memories? His becoming part of the family? Amanda and her wariness, taking the photo?

8. Mitchell and his behaviour with Jonathan, the bruises, frightening him, threatening him? Jonathan keeping quiet? Amanda discovering the bruises? Mitchell and his friendship with Summer, driving the car, her tattoo, her boyfriend? The later clash, his behaviour towards her, touching her? The fight with her boyfriend?

9. Mitchell taking Greg’s phone, his motivations, Amanda ringing and his having the phone? His talking with Greg, preventing him to meet Amanda for the test? His apology, Amanda being upset? Mitchell confronting her, pushing her, the fears about the baby?

10. Laura, Kyle and his friendship, the outings, the meal? Introduction to Mitchell? Kyle and his being bashed, suspecting Mitchell?

11. Laura, her puzzles, questioning Mitchell, believing him?

12. The ultimate threat, Mitchell taking Jonathan, to the water? Laura in pursuit, confronting him, their going into the water? Her rescuing Jonathan?

13. Mitchell’s disappearance, the audience seeing him on the street, the parents letting him go?

14. The important themes of the experience of the abduction by the boy, the mystery of his life for 11 years, memories of abuse, sexual exploitation, on the streets? Wanting a family,
fitting in and not fitting in, seeing the other members of the family as threats?

15. The film offering complexities about abduction and the consequences for the child taken, for the family, for a possible reconciliation?

THE GETAWAY OF LOVE/ L’ESIGENZA DI UNIRMI OGNI VOLTA CON TE

Italy, 2015, 85 minutes, Colour.
Marco Bocci, Claudia Gerini, Marc Duret.
Directed by Tonono Zangardi.

The English title of this Italian film is rather slight even if accurate. The Italian title is far more complex.

Basically, this is a story of falling in love, obsession, betrayal and some consequent violence.

The central character is a woman, 10 years married, who works at the checkout at a supermarket, who is threatened in a robbery, but is helped by one of the local police who has kept an eye on her anticipating the robbery but attracted to her, and then encountering her, beginning a relationship, while remembering the betrayal by his wife and his own brother.

The woman confesses to her husband who is angry, threatens her, whom she stabs with a knife.

The latter part of the film is the behaviour of the two, not going to the police, deciding to leave the country, the woman changing her mind, troubled by what she has done, the couple experiencing roadblocks – and a finale where the woman goes with her hands raised. The rest is for the audience to ponder.

1. A slice of life, relationships, obsessions, betrayals, violence, resolution?

2. The Italian title and its implications? The English title and its simplicity?

3. The opening, the couple, driving through the field? The flashbacks to two months earlier?

4. The introduction to the wife, in the supermarket, the attentions of Leonardo, chatting with him, his return visits? Her life at home, 10 years marriage, her relationship with her husband? His going on travels?

5. The introduction to Leonardo, police, memories of being a boy and being called a cop, his brother, his wife and his brother’s betrayal, the possibility of forgiveness, going to his father’s grave in order to forgive his brother? On the watch, patrols, his fellow-officer and the discussions about sex? The fact that they were on the lookout for thieves? His interest in the woman, the return, chat, the attraction? Her being held up, with the gun, saving her, saying it was a fake gun? Her fainting?

6. The encounters and the relationship, Leonardo sitting outside, Jogging, the encounter, the kiss? The absence of a husband? Together, the sexual encounters, the consequences? The effect on each?

7. The return of the husband, confession, his anger, sense of betrayal, violence towards his wife, her getting the knife, killing her husband?

8. With Leonardo, the possibility of going to the police, the double desperation, wanting to escape, travelling, her change of heart, the roadblock, driving through? Leonardo desperate? The woman and her getting out of the car, raising her hands, going to the police?

9. Leaving the audience wondering what would happen to each of the characters, the woman and her self-defence? Leonardo and his behaviour in taking her away?

HOLIDAY

US, 1930, 91 minutes, Black and white.
Ann Harding, Mary Astor, Edward Everett Horton, Robert Ames, Hedda Hopper, Monroe Owsley.
Directed by Edward H. Griffith.

Holiday had a good reputation amongst the films of 1930, getting Oscar nominations for performance for Ann Harding as well as for writing. One of the 10 top films for National Review.

The film has the atmosphere of the pre-Code films, a more explicit look at marriage, relationships, tensions.

It has the familiar theme of the young man falling in love, not realising his fiancee was wealthy, the pressure from her father for him to continue to make money, his wanting time off so that he could find himself. Mary Astor is the fiancee, initially sympathetic, a character getting harder as the film went on. Robert Ames is the amiable suitor – to die the following year aged 42. Ina Claire has top billing as the sister who feels oppressed by her dominating father, is supportive of her sister and her rather ne’er-do-well brother, sympathetic to the ambitions of the young man and his sense of freedom.

The background of the film is American affluence at the time of the Depression, scenes in wealthy homes, Society parties. Significant in the cast is Edward Everett Horton prior to his fussy friend or butler roles, but having a great deal of dialogue. Later gossip writer, Hedda Hopper is also in the cast.

The film was remade by George Cukor in 1938 with Katherine Hepburn and Cary Grant heading the cast.

1. A celebrated film of 1930, one of the Natural Review? Oscar nominations?

2. A play transferred to the screen? Dialogue? Confined sets? Musical score?

3. The title, Julia and her meeting John, John and his long-term ambitions, have time for himself, discover himself…? Julia and her reaction against this “holiday�? Her father? Linda and her support?

4. The affluent settings, the building, the apartment, lavish appointments, party sequences? Church? Wedding rehearsals?

5. Julia and John, their meeting, falling in love, Julia not telling John about her wealth, in the elevator, the apartment, meeting Linda and Ned, the announcement by Julia? The strategy for talking to their father in church? Whispering, the choir, the plate and collection?

6. Mr Seton, his business background, appreciation of money, ambitions for his children, his domination of them? The interview with John, favourably impressed, wanting to give him a job? The throwing of the party, his decision, Julia support, Susan Potter and the organisation?

7. The contrast with Linda, unhappy at home, the clashes with her father, support for Julia, support for Ned, his drinking, leaving work early? The dominance of their father? Linda and the offer of the party – but in the nursery room upstairs? The taking over the invitations, her not turning up to the party, upstairs? The Potters and their discussions? Nick, his jokes, his telling stories and parables? John coming upstairs, comfortable with Linda? Julia and her father coming, the confrontation, John wanting some independence, his going downstairs?

8. John and his giving in, Julia and her dominance, the wedding rehearsal? Nick to be best man?

9. John and the preparation for the marriage, his staying away, revealing his plan to Linda and the others? Revealing it to Julia, not believing him, wanting to get married, her father setting the date?

10. John, his packing, Linda helping him, Linda urging Julia to stop him going to the boat? Julia and her haughtiness, refusal? Her father support? Linda confronting her, for her to admit that she did not love John? Linda and her hurrying to the boat?

PASSENGERS

US, 2016, 116 minutes, Colour.
Chris Pratt, Jennifer Lawrence, Michael Sheen, Laurence Fishburne, Andy Garcia.
Directed by Morten Tyldum.

In recent years there have been quite a number of big-budget popular films about space. They include Oscar-nominated serious films like Gravity or The Martian, or the 2016 story of aliens and humans, Arrival.

In fact, a lot of this film will remind audiences of Gravity. However, it has many more ingredients besides the technology and the management of spacecraft. At heart, it is a romance. But it also has melodramatic aspects, dramatic aspects, and as with the other films poses a number of questions about how we would experience and react to crises in space.

There used to be cryogenics but now passengers to a distant planet can be put into hibernation for 120 years. And that is where this particular spacecraft is headed, into a future of 120 years in time on a planet which gives humans the possible ability for new starts and for creativity. As the film proceeds, we see that the vast spacecraft is state-of-the-art and, to say the least, huge and lavish, with 5000 hibernated passengers and over 200 crew.

As the film opens, there is a collision in space which will have all kinds of consequences. However, the immediate consequence is awakening one of the passengers, Jim Preston (and engaging Chris Pratt) an engineer from Colorado, your ordinary citizen but with intelligence and theoretical and practical know-how. For the first 30 minutes, Jim is by himself, managing, not managing, bemoaning his fate, letting beard and hair grow, and not even allowed the luxury of Gold Class passengers for breakfast or for coffee.

He is not quite alone, there is Arthur, your perfect British barman – but, of course, he is an android, but nicely so in the form of Michael Sheen.

Then, for reasons that viewers will have to see rather than being revealed here, Jennifer Lawrence is awake. She is from New York City and a writer, realising that she has a unique story in terms of the two of them being on a spacecraft wakened after only 30 years of the hundred and 20 year trip.


This is where the romance goes into high gear, happy sharing of life, love, and, of course, falling out.

So, where can it all go from here, just continuing on for the next almost 90 years?

There is another awakening, one of the crew, played by the venerable Laurence Fishburne, who helps the couple to explore what might have gone wrong and why so many other facets of the spacecraft are not operating properly.

This leads to the melodramatics and the dramatics with the valiant attempts to deal with the spacecraft and to get it back on track and repair the damage – and a bit of outside walking in space, reminders of 2001: A Space Odyssey as well as Gravity.

In this sense, Passengers is not exactly an original story but rather derives quite a number of elements from previous stories which are incorporated to make it not so much science-fiction as an occasion for audiences to enjoy a variation on the human condition – as well is asking some disturbing questions as to how we would react in similar circumstances, especially with living out one’s life on this comfortable but isolated spacecraft.

1. Background of science-fiction? Science-fantasy? Futuristic stories? In space and space travel? Space colonisation?

2. The spaceship itself, vast, for 120 years of travel, 5000 people in hibernation, the pods? The interiors of the ship, the cabins, the grand concourse, the technical apparatus, automated? The technology and repairing of errors? Space and the spacewalk? The impact for a 21st-century audience? Thinking about such future exploits?

3. The title, limited to the two passengers, audiences identifying with them, the man and the woman, the travel, hibernation, waking prematurely, the years of their life on the spacecraft, the travel?

4. The blend of romance, melodrama, drama?

5. The initial crash, the impact, explosions?

6. The consequence, Jim waking, the automated voice, the tone of the voices, client-oriented? Jim in himself, from Colorado, his age, engineer? The challenge to cope? His becoming more aware, alone, his behaviour, the search, no one else alive, the shower, his clothes, growing the beard, the economy-class breakfast? Meeting Arthur, the discussions with Arthur, the possibility of communication? Using his time, as an engineer, his ability to waken someone, his decision not, confiding in Arthur?

7. The decision about Aurora, the information about her, New York, writer, the video clips and her friends? His waking her, her response, having to cope, communicating with him? His not telling her the truth?

8. Life on the spaceship, the two keeping active, Aurora and her gold class status? The experience of the spacewalk? Talk, Aurora and her writing, reflections, accepting the reality of the situation? Jim and his preparing to propose?

9. Arthur, in himself, android, his good manners, service, the visuals of him, Michael Sheen, the mechanisms waste down? His objectivity? The discussion with Aurora, the revelation?

10. Aurora’s reaction, no proposal? Thinking that Jim had murdered her? The clash, her emotions, hurt? Swimming, running, alone? The impact on Jim?

11. Mancuso awakening, in himself, part of the crew, the effect of awakening, his sickness, the discussions, his ability to fix things, the entree into the Captain’s area, the search? Identifying the problem, the crash and the holes? His illness, death, in uniform, his being laid out?

12. The effort to repair the holes, Aurora and Jim collaborating, the experience of loss of gravity, Jim knocked about, Aurora in the swimming pool? The attempts to fix, the growing heat, Aurora and the handles? Jim having to go into space, the walk, the link? Aurora helping? Jim stranded in space, Aurora going to rescue him? Bring him back, dead? The power of the spaceship to resuscitate? Aurora and her having the power to override the objections? Jim alive again?

13. The effort, the shared experience, rekindling the relationship?

14. Aurora and her writing her book?

15. The end of the journey, the arrival, the captain, the crew, the passengers, going into a new world, hopes? And Aurora’s record for them of life on the ship?

 

 

 

 

MERRILY WE GO TO HELL

US, 1932, 78 minutes, Black and white.
Sylvia Sidney, Fredric March, Adrianne Allen, Richard Skeats Gallagher, George Irving, Esther Howard, Cary Grant, Kent Taylor.
Directed by Dorothy Arzner.

Merrily We Go to Hell is very much a film of the early 1930s, before the imposition of the standards of the Motion Picture Code. It was directed by Dorothy Arzner, the only woman director of the period.

While the film does have a moral foundation, especially the reconciliation at the end, it actually portrays a rather more permissive society, a wealthy society who, at one stage, wonder about the reality of the Depression.

Fredric March, just before his Oscar-winning Dr Jekyll and Mr Hyde, is a journalist with a drinking problem, seen initially drunk, flirting with the young socialite, Joan Prentice, played with charm by Sylvia Sidney. Jerry is unreliable but Joan is attracted, able to forgive him, defying her father to marry him, humiliated when he is too drunk to attend the engagement party, but still going ahead with the marriage and even laughing at the mixup when Jerry loses the ring and substitutes a bottle opener during the ceremony.

Jerry wants to be a playwright and for the first part of the marriage, they live quietly and ordinarily, Joan becoming domestic, while he writes a play. There are a number of rejections and he begins to give up hope only to find the play accepted, the star to be Claire, Adrianne Allen, with whom he had had a relationship with her terminating it. The play is a success, Claire flirts, and tempts Jerry to drink again after his being off the drink while writing the play. He takes a curtain call drunk, stays out with Claire, wants to go out again after she phones him and challenges Joan to lock the door but she decides that she does not want to be a jailer.

In the aftermath, with some words about freedom of attitudes different from the past, the touch of open marriage, Joan tires of the high life, even dating the actor, an early role for Cary Grant. She is pregnant, Jerry not having the time to listen to her but, at the end, his going to her bedside in the hospital, despite her father's refusal, and there is a possibility of a future.

1. A film about love, marriage, infidelity, open lifestyle, alcoholism?

2. A film of 1932, pre-Code? A more permissive approach to contemporary lifestyle and later?

3. Black-and-white photography, the city settings, socials, mansions and affluence, the theatre? The musical score?

4. The title and Jerry quoting it freely, and Joan quoting it?

5. The work of Dorothy Arzner, one of the lone female directors of the period?

6. The initial party, Jerry and his flicking, the encounter with Joan, their getting on well, his being drunk, the kiss, her response? Her inviting him to the party, his accepting, telephone number? His not being able to focus on her as she left?

7. The party, her father's disapproval, his background in industry, wealth, the luxury mansion, the servants? Preparation for the party, cake, gingerbread and creme de menthe? Jerry not arriving? Coming late, the encounter with Mr Prentice? Going out with Joan?

8. Jerry, his work, reputation as a columnist, his wanting to write plays? Courting Joan? Saying she was swell? Not saying he loved her? Summoned by her father, his attempt to buy Jerry of, Joan overhearing? Rivals and their articles?

9. The engagement party, Jerry drunk? Buck and his friendship with Jerry, supporting him, trying to help him? Vi and her friendship with Joan?

10. The wedding ceremony, Jerry losing the ring, the substitute, Joan laughing? The time together, at home, the ordinary life, Buck and Vi visiting? Jerry writing the play, the series of rejections, the final acceptance, celebration, dropping the chicken on the floor?

11. The reading, Claire and the past relationship with Jerry, her wanting changes to her advantage? Joan watching? The rehearsals? The night of the opening? Claire and flirting? Jerry and his drinking, the performance, the applause, Joan finding him, his being dragged on stage?

12. Jerry, late home, drunk, Joan upset, her father's warnings? Jerry going out to see Claire, asking Joan to lock the door, opening it?

13. The collapse of the marriage? Joan and her reaction, drinking, showing Jerry what it was like to be drunk? Her comments about marriage, her grandmother's standards, the change of lifestyle and mores in the 1930s? Her going on the town, dating Charlie Baxter from the drama, going to socials, encountering Jerry? With Claire? The social life and its permissiveness?

14. Joan, tiring of the high life, discovering she was pregnant? Jerry too busy to listen to her, her leaving?

15. Jerry going back to work, the newspaper article about the birth of the child? The death of the child? His hurrying to the hospital, Mr Prentice refusing him permission to see Joan, Joan asking her father for him, his defiance, going in, a reconciliation? The possibility for a happy future and his not drinking?