WALK HARD: THE DEWEY COX STORY

US, 2007, 95 minutes, Colour.
John C. Reilly, Jenna Fischer, Raymond J.Barry, Margo Martindale, Kristin Wiig, Harold Ramis, Frankie Muniz, Ed Helms, Jane Lynch, Simon Helberg, Jackson Browne, Lyle Lovett, Jack Black, Paul Fike, Morgan Fairchild, John Michael Higgins, Jonah Hill, Justin Long, Cheryl Ladd, Paul Rudd.
Directed by Jake Kasdan.

This is a movie spoof but a spoof with a difference. It is better than most.

While watching those funny Leslie Nielsen send-ups of all kinds of genres (Repossessed, Spy Hard…) or the hit and miss, often crass, Scary Movie or Epic Movie series, a nagging question recurs. Would this have been better if the makers took the spoofing more seriously and produced an intelligent parody? And, if they had actors of substance, would that make a difference to the quality of the send-up.

Walk Hard provides the answer: yes.

Of course, it has a solid basis in the biopic of Johnny Cash, Walk the Line. The plot of Walk Hard follows Walk the Line with quite some attention to detail. However, with John C. Reilly as Dewey Cox, the film has a first-rate actor who can do the serious as well as the comic and makes a good fist of the serio-comic, earning himself a Golden Globe nomination for Best Actor in a Comedy or Musical.

The film also has its absurd moments, especially when Dewey cuts his brother in half with a machete and has a heartfelt conversation with the torso. But, the absurdities of the life and career of a country and western star, the women, the drugs, the self-absorption, also get the serio-comic treatment.

Jenna Fischer is the equivalent of June Carter. Raymond J. Barry as Dewey’s unforgiving father and Margo Martindale as his doting mother have good roles.

Reilly did all his own singing, which is also creditable – and the title song also earned a Golden Globe nomination.

Those audiences who wanted a kind of Scary Movie comedy were disappointed – but Walk Hard has something to say as well as something to make us smile.

1. American songs, the range, styles, stories of composers, of performances, of celebrity? Audience interest, knowledge of 20th century composers?

2. The background, the South, the 1930s to the 1950s, pre-rock ‘n’ roll? The parallels with the Johnny Cash story, Walk the Line?

3. A parody, but a serious parody, plate straight? Echoes of Johnny Cash, Ray Charles, the Beatles, the Temptations…? The humour, jokes, irony, spoofs?

4. John C Reilly and his presence, at different ages, at home, performing, his talent, singing, his character in the 20th century arc of the lives of many of the contemporaries? Origins, success, ordinary, on the road, success, temptation, relationships and failures, drugs, rehabilitation? Some kind of finale?

5. Home in Alabama, his parents, the hard father, the soft mother? His friendship with his brother, playing with and eight? Nate and his skills? Dewey and fewer skills? Playing, the bonds, the machete, slicing Nate in half and the comedy of the two halves (and later for his father)? The mother and her grief, the father and his reaction, “the wrong kid died�?

6. Dewey at school, with the 14-year-old’s, as played by Riley? Music, the concert, his abilities, the band, his mother supportive? His father scowling?

7. Edith, her age, young, liking Dewey, the bond between them, the marriage, the many children? The touch of caricature? Are always commenting about his not succeeding? More kids, at home, work, Dewey’s absences?

8. Due in his job, cleaning at the club? The singer, the clientele? Dewey and his admiration? The singer, unable to perform, Dewey offering to step in, playing the songs, the reference to Negroes, everybody getting up and dancing? To success?

9. The Jewish scouts, Jewish humour, their presence, their arrangements, appearing later, produces, the records? And one of the sons coming later to combine Dewey songs with rap?

10. The members of the band, Sam, loyalties, yet you are always finding him in a room with the women, the variety of drugs, building up from marijuana to cocaine to heroine, to speed? The other members of the group, working with Dewey, the ultimate clash with him and leaving? Everybody reuniting for the life award?

11. Walk Hard, the lyrics, the melody, the success, the spoof of the adoring fans, the girls? The role of the band?

12. Dewey and his contemporary celebrities, the encounter with Elvis Presley, the later meeting and discussion with the Beatles, The Temptations and others singing at the award night?

13. The pressure on Dewey, his age, Darlene at her arrival, the attraction, the audition, singing, the relationship at her always hesitating before kissing, the tensions for Dewey? The effect on Darlene? At home, his two marriages, Darlene and Edith meeting and their reactions?

14. Dewey’s mother, always supportive, pride, listening on the radio, dancing with husband, tripping, falling and dying? His father seeking him out, his attitude, a possible reconciliation, but Dewey putting his foot in it – the wrong kid died?

15. Dewey, his erratic behaviour, his defences on the drugs, his drug-filled behaviour? Darlene? Is going to rehabilitation, the traumatising and visuals of the effect on cold turkey?

16. His mad period, convinced it should write a masterpiece, his idea, taking so much time, everybody against him, his agent, friendship and support, but warning him against this? Everybody leaving him?

17. Retirement, the encounter with his son, playing catch, the number of kids, multiracial…?

18. Old age, Edith, settling down, retiring with the family, enjoying the family?

19. The news of the tribute, the award? The opening of the film and is thinking about his life and the resumption for the award?

20. Nate reappearing during the film, challenging Dewey, the comparisons?

21. The performance, his mother and father, his brother appearing, the death of his agent and his appearing dead on stage as well?

22. The acclaim, the song, the supporting acts, the tributes, Edith, the children?

23. The information that he died within three minutes?

24. As film experience, plate straight but tongue-in-cheek, of the popular music world in the US during the 20th century?

JACK GOES HOME

US, 2016, 100 minutes, Colour.
Rory Culkin, Daveigh Chase, Lin Shaye, Britt Robertson, Nikki Reed, Natasha Lyonne, Louis Hunter.
Directed by Thomas Dekker.

Now here is a weird and somewhat bewildering film. It is the work of actor Thomas Dekker (who was somewhat weird and bewildering as one of the alien children in the 1995 version of Children of the Damned, and the star of Greg Iraqi’s Kaboom). he has written the screenplay here and has directed.

There is some early warning is Rory Culkin as Jack sits in his office but muses on the universe, the meaning of life and composes poetry. His girlfriend (Britt Robertson) is six months pregnant.

The audience have seen the accident already, Jack’s mother and father on the highway at night, collision with a deer, a crash and the death of the father. Jack receives the news at his office in California and returns home to Colorado.

Touches a weirdness begin as we introduced to his mother, Lin Shaye, star of so many horror and comic films, getting a more substantial, if somewhat similar, role. She does not grieve, her son questioning her, her going into tantrums. The audience has seen Jack sleepwalking and he has nightmares.

At home, the funeral is conducted at which she speaks but his mother wants to go home.He is helped by a childhood friend, Sean D, Dev a Chase, who is in a lesbian relationship with Crystal, Nikki Reed. There is also a touch of weirdness in the young man who lives across the way whom Jack glimpses, one-time naked, other times curious, who offers drugs, talking, listening to Jack’s weird experiences, making some sexual advances, as well as taking him to a club.

The screenplay becomes more complex when Jack goes into the attic, finds audiotapes and videotapes addressed to him, from his dead father, as well as as a dossier about a sexual abuse case. He also discovers that he has a twin, his mother explaining that he has died, although the intention was to drown Jack in the bath because he cried so much.

By this stage, the audience is wondering how much is real, how much is fantasy, what is happening in Jack’s imagination, especially as he relives the accident with his mother.

While Jack goes home, he also goes into his interior psyche, with bewildering results for himself and for the audience.

1. A bizarre psychological story, mystery, touches of horror?

2. California, workplaces, relationships, normal? The sequence of the accident on the road, the deer, the crash? The contrast with Colorado, the family home, interiors, the attic? The countryside? The funeral service? The musical score?

3. Thomas Dekker as writer and director? His personal comments about film-writing enabling expression of the myriad of personalities inside the creative mind?

4. The introduction to Jack, close-up of his eyes, his reflections about life, the cosmos, growth and change? His poetry? His work at the office, the contact with Cleo, her pregnancy, three months before birth? His coworker, the comment about poetry, the use of the term Bro and Jack quibbling about it? Jack and his being articulate, is vocabulary, poetry?

5. The audience seen the accident happen, the road, the deer, the crash?

6. Jack receiving the news? His going home to Colorado? Looking for his mother in the house? The meal and the discussion about expressions of grief? Jack seeming normal, expecting his mother to cry? His saying that he did not cry? His mother’s outburst, her freedom about how she manifested her grief?

7. To build tracing the relationship between mother and son? Moments of tenderness? Moments of anger? Her self-assertion? Going to her room? With the violin? A reaction to the dog? Jack and is going to the vet, the pleasant talk with Nancy, her raising the issue of God in prayer? His mother’s condemnation of her? Bringing the dog back home,
playing around the house, his mother criticising it scratching at the door (and her ultimately killing the dog)?

8. Jack and his friendship with Shonda? Her ability to listen? Knowing each other since children? It her fearing the house was haunted, apprehension about his mother? The two talking together, the funeral, smoking pot together? His support of her, her relationship with Crystal, coming out? Crystal and her criticisms – yet allowing Shonda to support Jack?

9. The preparation for the funeral, the ceremony, outdoors, Jack speech, his mother going to the water, wanting to go home, Shonda driving them?

10. The presence of Duncan across the way, seen through the window, standing naked at the window, making contact with Jack, the discussions, Jack condemning him for pontificating, his apology in the window and the response? Going to the club, doing the drugs? The man at the bar, reading Jack’s palm? Heart and head – and saying that Jack was already dead? Duncan, his personality, the sexual approach, the kisses?

11. Jack, his sleepwalking in the past, his talk about the attic? His nightmares? Going up to the attic, finding the audiotape, playing it, his father talking to him, then finding the videotapes, playing them? The discovery about his twin? Listening to his father? The mystery of the bath and death? Finding the papers, the story of sexual assault, cases? His father’s apology?

12. His mother, telling the story of the twins, Jack always crying, Andrew quiet? The father’s desperation, taking the child to the bath, drowning the child – but drowning Andrew? And was the name for Jack and Chloe’s baby?

13. Jack and the piano, his mother, the music, dancing, taking her to the car, the reliving of the accident? His mother on the ground? Shonda and her arrival, taking him away?

14. When did reality and fantasy begin to blur? For Jack? For the audience? How much of the screenplay was real life? How much dream? How much fantasy created in Jack’s imagination?

WHEN TRUMPETS FADE

US, 1998, 95 minutes, Colour.
Ron Eldard, Zak Orth, Frank Whaley, Dylan Bruno, Dan Futterman, Steven Petrarca, Dwight Yoakam, Martin Donovan, Timothy Oliphant, Jeffrey Donovan, Bobby Cannavale.
Directed by John Irvin.

When Trumpets Fade is a war movie made for television, being released at much the same time as Saving Private Ryan and Terrence Malik’s The Thin Red Line. Though brief, the war scenes and the action in the Ardennes, during the Battle of the Bulge, weapons, flamethrowers, tanks, and many dead stand the test of vivid visualising of war (as was later in Mel Gibson’s Hacksaw Ridge)

As with many war films, the focus is on a small group, Ron Eldard at the beginning carrying Jeffrey Donovan who has been wounded, and attempt to get to safety. When he returns alone, he asks his commanding officer, Martin Donovan, for leave because of mental disability. His request is refused and is put in charge of several missions, sometimes with very young and inexperienced soldiers.

There is a glimpse of the Germans – who seem to be in much the same situation as the Americans, more interested in the cigarettes from the American that they capture than in action.

There is a cumulative effect of the war scenes, small skirmishes, bigger action, and a final push on a bridge with hand grenades and flamethrowers.

Modest in size and production, with a group of several young actors at the beginning of their careers, this is a substantially successful World War II film. .

1. A very strong war film? 1944, the Battle of the Bulge? The small infantry unit?


2. A film made for television, production values, Hungarian locations, recreation of the war and battle sequences? Guns, tanks, flamethrowers? The dead? The musical score?

3. The title, the issue of patriotism, the issue of survival? Manning and his trying to save Bobby? Bobby’s death? His discussions with Pritchett, the emphasis on saving his own life – and the comment from the medic about saving him?

4. The background of World War II, 1944, the Germans moving back, the battles in the Ardennes, the American troops, the heavy losses, the Germans and their losses – and the taking of the prisoner but wanting his cigarettes…?

5. Setting the tone, the comments about war?

6. Manning, Bobby, Bobby being carried, desperate, Manning’s decision, his death?

7. The focus on Manning, the discussions with Pritchett, his wanting to be relieved because of mental disability, Pritchett’s refusal? Manning being promoted, in charge of the group? His own personality, the experience of war, dealing with the authorities, Lucas, the number of deaths, is trying to save the men? The various missions? His objective attitude, the bespectacled soldier, hiding from the Germans, surviving, but Manning willing for him to be captured or dead? The further missions, his discussions with the authorities? The battles, the flamethrowers, the grenades, taking out the guns? The arrival of the tanks? Manning and his men, his survival?

8. Pritchett, in command, with Manning, refusing his request, promoting him, explaining that this was the situation, the further missions, promising him his dismissal? His own experience of war, coping with the dead, with commands?

9. The authorities, the commands, the desperation, the willingness to risk lives, the number of the dead, the visuals of the number of the dead? Wise decisions? Not?

10. The ordinary men, new recruits, the soldier with the spectacles, fear, going out, surviving with the Germans listening but walking past him? His return? Further participation, men asking him how he felt?

11. The range of men, ordinary men, the introductory, hand-to-hand battle, weapons, continued threats, in the forests? The medic?

12. A portrait of World War II, memories of battles 50 years earlier?

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WHEN TRUMPETS FADE

US, 1998, 95 minutes, Colour.
Ron Elgar, Zak Orth, Frank Whaley, Dylan Bruno, Dan Futterman, Steven Petrarca, Dwight Yoakam, Martin Donovan, Timothy Olyphant, Jeffrey Donovan, Bobby Cannavale.
Directed by John Irvin.

This is a little-known World War II film, made for television by HBO at the end of the 1990s. While it was seen at the time on television, it had no cinema release and not a wide audience.

However, it is well worth seeing.

It is based on an actual battle on the Belgian-German? border before Christmas, 1944. The film opens with extensive footage of the allies entering Paris, the liberation of Paris, the enthusiasm, and the hopes of end of the war before Christmas.

But, then it moves to the battle, alone soldier carrying the wounded soldier on his back, setting him down, the wounded man not wanting to be carried anymore, but wanting his companion to stay as he was dying. Then a shot is heard. The soldier, David Manning (Ron Eldard) reports and wants to be excused from action. The captain, Martin Donovan, refuses and promotes him to be a sergeant, wanting him to lead a small squad of young rookie is in a plan to take a bridge and hold it.

Manning is taunted by some as being a coward because he was the only one to survive, uninjured, and attack. However, he perseveres with the young men, disciplining them, testing them on patrol, not popular with them, still wanting to be relieved.

When the pushes to take the bridge lead to many deaths and injuries, German canon continually firing on the troops, Manning suggests that he takes his squad behind the lines and attack the cannons from the back. On the whole, the strategy works – and is later repeated though with some deadly consequences.

In the film ends as it began, this time the wounded Manning being carried by one of the young soldiers…

The title indicates that there is far more to war than the trumpeting of propaganda and morale and gives some information at the end that historians agree that the casualties of this action or out of all proportion and the military decisions were in error.

1. The title? The enthusiasm of war? Reality? Disillusionment? Self-sacrifice?

2. A World War II film over 50 years after the events? The impact for the end of the century? Memories of war? Acknowledgements of war, self-sacrifice, unnecessary deaths? Tribute?

3. The tone of the opening, the footage of the liberation of Paris? The enthusiasm? The songs? The troops, the people? The hopes for the end of the war by Christmas?

4. The events based on an actual historical episode? The battle of Hurtgen Forest? Christmas 1944?

5. The tone of the first sequence with David Manning, carrying Bob, Bob dying, suffering, on the ground, not wanting to be carried further, but not wanting Dave to leave, the plea, David his gun? His arriving back at headquarters? The loss of all the other men? His survival? Talbot and his continuing to needle Dave, yellow streak, cowardice?

6. Dave wanting out, the discussions with Captain Pritchett, the promotion, his refusal, the arguments between them? His being made sergeant, going out to his new squad of
men, their being rookies?

7. Dave and his friendship with the medic, their discussions, help, in the field, under fire, the rescues, the injured and dead? The medic overhearing Dave wanting to opt out? His comment about putting life at risk?

8. The authorities, the Lieutenant and his strong attitudes, the discussions with Dave, willingness to help, the lieutenant under the bridge, under the bombardment, the dogtags of all his massacred troops, his attack on the commander?

9. The range of authorities, the strategies, the plan to take the bridge, the number of pushes, the casualties? The final information and the criticism of such unnecessary deaths?

10. Dave, with the young men, their talking amongst themselves, their Christian names and surnames, Warren and his spectacles, Baxter and his being cheeky, the going off on the
mission, beyond enemy lines, Warren set on patrol, hiding from the Germans, his return, Baxter calling out, Dave slapping him? The effect of the experience? Dave explaining that they had experience?

11. The pushes, the bombardment from the tanks and cannons? The authorities demanding the taking and occupying of the bridge?

12. Pritchett and his wanting to leave, the interview, his being commanded to continue? The attack, the effect on him, the authorities seeing him as wounded, sending him away? The issue of the deal he had done for Dave and his getting out? Talbot telling Dave the news of Pritchett’s injuries?

13. Dave and his idea, Pritchett approving, taking the young men, going behind the lines, the attack from behind, shooting, the flamethrowers? The deaths?

14. The sense of disaster, the authorities demanding the holding of the bridge? The tank reinforcements? Dave, the young men going again, not within orders? The attack, the trucks with the ammunition, the explosions? German shooting? The deaths? Dave being wounded?

15. The repetition of the opening, Warren carrying Dave, Dave dying on his back?

16. A retrospective perspective on battles in World War II?

TARGET EARTH

US, 1998, 95 minutes, Colour.
Christopher Meloni, Marcia Cross, John C.Mc Ginley, Dabney Coleman.
Directed by Peter Markle.

Target Earth is something of a footnote in the history of science fiction films and encounters with aliens. It is brief, was made for television, has some interesting ideas akin to so many other films but in its presentation is rather routine.

Coming at the end of the 1990s, it is somewhat lost in the tradition of the films of the 1970s, perhaps something of a throwback to the small-budget features of the 1950s.

The setting is Ohio, a small neighbourhood where a woman having her house fixed by electricians is overwhelmed by a huge spacecraft which sets off explosions. In the meantime, there is a fugitive in the woods who then takes a little girl and communicates alien codes to her. In the meantime, there is a detective played by Christopher Maloney, who is involved in a number of cases, but finds a little girl and restores her to her mother, Marcy a Cross.

There is something wrong with the little girl and, it eventually emerges, that they have have been many abductions over the years (and a revelation, of course, that Christopher Maloney’s wife had been abducted and had disappeared). There is an FBI investigation to find the man in the woods, led by John C McGinley?, Bald, and with the word in the back of his neck – and not too difficult to realise that he is one of the alien victims, who have all been injected and are serving as sleepers until awakened.

The aliens do want to take over the world though their chief, Chad Lowe, is intrigued by his experiences of listening to Mozart!

With plot complications, the detective and the mother and their child are pursued by police, detective shooting his partner who is also one of the victims, the pseudo-FBI. They find refuge with a group of high-tech rebels who have recovered from being injected and are trying to find the location for the telemetry port for the forthcoming spacecraft.

There is some political and military complications, especially with the deal done by the aliens with a senator, the detective’s uncle, played by Dabney Coleman.

It all comes to a head when the building for the telemetry port is found, the detective confronting the false FBI agent, fighting, and the hero being able to detonate explosives in the nick of time to destroy the heliport – with signals in the sky that the spacecraft cannot land and has to return to space.

Happy ending, the detective, the mother and daughter sitting on the porch of the lady who had experienced the spacecraft, reported to the detective who had not believed her.

THE BORROWERS

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

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

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

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

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

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

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

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

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

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

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

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

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

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

11. Pete, the exterminator, his changing sides?

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

THE UNAUTHORISED SAVED BY THE BELL MOVIE

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

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

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

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

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

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

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

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

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

THE THIRTEENTH GUEST

US, 1932, 68 minutes, Black and white.

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

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

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

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

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

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

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

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

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

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

THE 13TH MAN

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

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

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

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

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

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

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

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

THE PAYOFF

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

13. The setup, the raid on the club?

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

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

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

HOUSE OF SECRETS

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

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

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

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

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

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

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

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