THE MAGNIFICENT SEVEN

US, 2016, 133 minutes, Colour.
Denzel Washington, Chris Pratt, Ethan Hawke, Vincent D 'Onofrio, Byung-hun Lee, Manuel Garcia -Rulfolo, Martin Sensmeier, Haley Bennett, Peter Sarsgaard, Luke Grimes, Matthew Bomer, Cam Gigandet.
Directed by Antoine Fuqua.

As with many remakes of significant films of the past, there have been outcries against this version of the classic The Magnificent Seven, the 1960s Western, directed by John Sturges, with a group led by Yul Brynner and significant action stars of the time. And, of course, there was, Elmer Bernstein’s famous score and rousing melodies which made their way to Marlborough Country. A quick comment usually is that those exalting the past and decrying the present may not have seen the original film for many years and remembering their experience of watching the film rather than the quality of the film itself. Be that as it may, it is 56 years since Yul Brynner and co defended the oppressed people of the Western town.

One thing that should be said is that The Magnificent Seven was itself a remake, a re-imagining of Japanese director, Akira Kurosawa’s Seven Samurai, from the 1950s.

Quite a lot has happened in Hollywood moviemaking in the half century or so since the original film, and there are different sensibilities around the world, especially in terms of racial equality. So, the leader of the Seven this time is Denzel Washington. And, amongst the Seven, there is an Asian American, a Mexican as well is a Native American. (Audiences who like westerns and themes could do well to track down the 1996 American miniseries, Children of the Dust, with Sidney Poitier in an equivalent leadership role in the West.).

The villain here is a mining boss, with no scruple whatsoever, assuming that he is the law and that his will and whim are sacrosanct. He wants to move many of the farmers out of their land, uses workers in the mine like slaves, confronts the town people who have been having a meeting in the church, and, when some stand up to him, he shoots them. And then his thugs draw their guns and shoot more. He is played by Peter Sarsgaard who, when he goes to Sacramento, he hears of the revolution in the town, raises a little army to come back to confront the Seven.

Many of the townspeople leave but a strong-minded woman, Emma (Haley Bennett) whose husband has been shot by the mining boss, sets out to employee gunfighters to defend the town, coming across Sam Chisholm (Washington) who is quick with the gun, tracks down criminals, not as a bounty hunter, but as an employed law enforcement officer. Watching him do his job in the saloon is Faraday (Chris Pratt), a gambler and a con man, with a touch of the clown, who joins up with Chisholm. They then go looking for a Civil War sharpshooter, Goodnight (Ethan Hawke), now drinking sponsoring the fighter, Billy (Byung-hun Lee). Then the Mexican, then the Native American, Red Harvest, and then a most unlikely candidate, Jack Horne, an eccentric but good with weapons, played by Vincent D’ Onofrio in a way that a lumbering Orson Welles might have taken on the role.

The Seven ride into town, work with a population in setting up all kinds of defences, traps, trenches, getting dynamite from the mine, and planning to corner many of the invaders in the streets of the town. There is a lull before the attack at dawn. And then, of course, it is on, a high body count, but audience sympathies are with the townspeople and the Seven, no sympathy for the invaders, especially when they produce a Gatling gun and fire on the town.

There are quite a lot of heroics and, without spoiling the plot, it can be said that not all of the Seven survive. Sam Chisholm does, of course, for a final confrontation with the boss, his retreating into the Church, and Emma, remembering the death of her husband, making the final decision.

The film looks good, the town, the desert, the attack, the battles, the gunfights. At times, the musical score seems to be going back to Elmer Bernstein but then goes in its own direction. For those who are missing that original score, they can relax a little because, thank goodness, in the final credits when the images of the Seven appear on screen with the names of the actors, there it is. It does have to be one of the most rousing score is in the movies.

Antoine Fuqua has worked with Denzel Washington in Training Day for which Washington won his second Oscar as well as in The Equaliser.

The basic plot works well so it is most probable that there will be another remake.

1. The cult status of Kurosawa’s The Seven Samurai? The cult status of John Sturges’ 1960s version?

2. The 21st century remake, the plot, the cast, the musical score – and the reprise of Elmer Bernstein’s theme during the final credits?

3. The town, needs, the mining boss, his tyranny, exploitation of his workers, wanting the land, to get rid of the farmers? The leader of the seven, Sam Chisholm, Denzel Washington, Black? The multiracial composition of the seven? Native American, Mexican?

4. The musical score, the echoes of the original score?

5. The title, the tone, Chisholm working within the law, rather than vigilantes? The violence, guns and weapons? The town threatened with the mining interests? Themes of heroism, defending the defenceless, self-sacrifice?

6. The town, the people, the mines, seeing the explosions for exploration, the hard situations of the workers? The meeting in the church, the discussions about the owner? Out in the street, the meeting, the boss and his henchman, the threats, Emma and Matthew, Matthew being shot, the open firing, the massacre? The assumptions of the boss that he was his law?

7. Sam Chisholm, his arrival in the town, the bar, the people gambling, the threats, the crowd, the guns, the discussion about the killer, his arrest, the shooting? Chisholm and his having warrants and documents? His qualifications? The later filling in of his background, the death of his family, the threat to his own life? The confrontation with the mining boss and his violence in the past?

8. The townspeople in the street, Emma and her strong stances, Matthew and his death? Emma and her leadership, the fears of the townspeople, her assuming leadership, her associate, going to find Chisholm, the discussions with him, the amount of money available, his acceptance?

9. Faraday, playing cards, watching? His getting out of the saloon? The two men threatening him, his card tricks, the shootings? His getting the horse? Chisholm and his help? Indebted to Chisholm? Joining the group? Cheerful with the touch of the clown?

10. Finding Goodnight, his past, the Civil War, ability to shoot, drinking, Billy and his fighting skills, the crowds gathering, the betting? Billy and his looking after Goodnight?

11. The encounter with the Indians, and the Indian, Red Harvest, joining the posse?

12. The Mexican, the stand-off, the confrontation, his character? Joining the group?

13. Jack Horne, his age, size, lumbering, yet agile, his causes, ability to shoot, joining the group?

14. The Seven and their bonding, riding together, arriving, in the town, the confrontation with the sheriff, his riding to Sacramento to warn the boss? The thugs and the shootout in the town?

15. The mining boss, in Sacramento, the high life, his wealth, the news, upset, decision to raise an army, his henchman and advisers?

16. The townspeople preparing for the invasion, the seven with their various skills, the traps in the street, collecting the dynamite from the mine, digging the trenches, the barriers for the horses?

17. The townspeople, the option to go, many of them leaving, the other staying? The reverend, his background, the church and its being destroyed? The raising of the bell? His support of the Seven? Goodnight and his decision to leave?

18. The characters of the Seven, their interactions, leadership, and their roles?

19. The arrival of the Army, the numbers, waiting outside the town, the attack and the multiple deaths? Riding into the town, the shooting? The use of guns, knives? The attack and the warning by Goodnight about the Gatling gun, its effect? Hiding the children below – and then taking them into the fields?

20. The siege, the attack, Emma being saved?

21. The boss, supervising, coming into the town?

22. Faraday, his horse, the dynamite, going out to confront the boss and the Gatling gun, the shooting and his pulling the dynamite?

23. The various members of the group, their deaths, especially Jack Horne and his almost seeming to be indestructible?

24. The stand-off between Chisholm and the boss? In front of the church, the boss cowardly, the truth about his past, going to the church, the confrontation and fight, Emma shooting him?

25. The Magnificent Seven and their achievement on behalf the oppressed?

JACK REACHER: NEVER GO BACK

US, 2016, 118 minutes, Colour.
Tom Cruise, Cobie Smulders, Danika Yaroch, Patrick Huizinger, Aldis Hodge, Holt Mc Callany.
Directed by Edward Zwick.


This reviewer is quite partisan about the novels by Lee Child and his tough character, Reacher, having read all the novels. As with so many of the fans, it was a surprise to find Tom Cruise cast as Reacher, almost a decade older than the character in the books, and, even more surprising, at least 12 inches shorter! But, allowing for that change in age and height perspective, and Lee Child taking cameo roles in each film offering his approval, Tom Cruise did quite a good job.

And he does quite a good job here – age 53 when he shot the film. But one thing does emerge for readers of the novels, which may not seem at all important for those not familiar with the books, Tom Cruise has a kind of earnest righteousness in his Reacher whereas in the books, Reacher is more sardonically righteous. (And there is the difficulty that Lee Child’s Reacher has a rugged appearance whereas Tom Cruise will still remind audiences of his Maverick in Top Gun – 30 years earlier).

Reacher used to be a major in the military police but left, roams around the United States (waylaid by all kinds of crimes and adventures), a loner who is satisfied with his own company.

Here there is an entertaining prologue with Reacher in cuffs, threatening a sheriff that there will be a phone call in 90 seconds and then the sheriff himself will be in cuffs – all of which happens. That is the kind of assurance that Reacher has. But, he is indebted to a military officer in Washington DC, Susan Carter and phones her to thank her and to make a dinner date. Instead, he finds that she has been arrested – enough for him to go into action, confront other officers in Virginia, check with her lawyer, decide to get her out of prison, which he shrewdly does, leading to car chases and crashes and a mystery with thugs pursuing them and a mysterious killer, called The Hunter.

There is a further complication when one of the officers is murdered and Reacher’s fingerprints are on his phone. Not only is he being framed but there is a report that a woman has made a claim that he is the father of her daughter – whom he tracks down and saves from The Hunter by taking her to the boarding school where Susan Carter was educated. But no rest, the thugs appear again and this little nuclear family has to go on the run, to hide, to follow leads in New Orleans, to risk more dangers, and the uncovering of a sinister plot in arms dealing in Afghanistan.

Cobie Smulders is a strong Susan Carter, not a romantic interest for Reacher, more interested in her career as well as an assertion that men and women are equal in their line of work. Danika Yaroch shows her metal as the young girl who makes a contribution to the investigation of the case.

Apart from Tom Cruise getting older, there seems to be no reason for there not to be another Reacher film.


1. The popularity of the Jack Reacher novels? Adaptation for the screen?

2. The title, the tone, the story of Reacher, his military career, leaving, not going back? The military settings, Washington DC, Virginia? New Orleans? The musical score?

3. Reacher, ex-major, the possibility of being called back to service, his being accused of murder, framed?

4. Tom Cruise as Jack Reacher, his age, experience, tough, the ability to fight? The tone set with the opening, the sheriff, handcuffs, the 90 seconds for the phone call, the police coming? The corrupt sheriff?

5. Contact with Carter, thanking her for the tip, planning dinner? Her arrest? Secrecy? Reacher going to the officer, the discussion? The sergeant on duty, getting the information from her? Going to meet the lawyer, the discussion, his being weary? His being murdered? The superior officer, Reacher confronting him, the company and his murder? The phone with Reacher’s fingerprints?

6. The issue of Reacher having a daughter? The photo, following Sam, seeing her shoplifting, her confronting him, the story, the mother’s claim?

7. Reacher going to the prison for Carter? The interviews? Getting the lawyer to get some food, getting her keys, the fight with the guard, wearing his beret, freeing Carter, their escape, the car pursuit, the chases and crash?

8. The background, the Company, contracts, arms deals, the contact in New Orleans, the investigation in Afghanistan, the murder of the two investigators? Sending messages to Carter, her not receiving them? The head of the company, the range of thugs, the chief killer, called the Hunter?

9. The Hunter, his skills, killings, relentless, conversations with Reacher, the pursuits, the pursuit of Sam? Following the group to New Orleans? The pursuits in the city, the pursuit of Sam, the fight in the streets, over the buildings, the final confrontation with Reacher, his death?

10. The three on the run, the decision to conceal Sam in the school, Carter and her story of the school? Pursued, leaving? In hiding? To New Orleans, on the plane and the two thugs and Reacher dealing with them? The hotel, Sam going out, amongst the homeless, getting information, Carter and Reacher and the interviews with the homeless, the photo? Carter and her comment about the equality of men and women, Reacher going out, tracking down the contact after talking to his wife? Reacher’s attempt to apologise? The officer from Carter’s office, his investigation, in New Orleans? With the group, the conversation with the arms contact, his confession, the shootout, his being killed, the officer wounded?

11. The rendezvous on the wharf, the confrontation? The General, his documents, his self-importance? The search of the ammunition, Carter feeling defeated, Reacher and the weights and the inventory, the discovery of the drugs? The arrest?

12. Sam, in the hotel, using her phone, watching the Halloween procession? Pursued through the streets, the buildings, over the roofs?

13. Carter, resuming her career? Reacher and his going to the school, Sam as a student, her hugging him?

14. Reacher as a type, icon, American action hero?

I AM NOT A SERIAL KILLER

Ireland/UK, 2016, 104 minutes, Colour.
Max Records, Christopher Lloyd, Laura Fraser, Karl Geary.
Directed by Billy O’ Brien.

When someone claims that they are not a serial killer either they are telling the truth (and there may not be much more subtle material for plot development) or they are lying (and that opens up all kinds of developments) – or they may be deceiving themselves, which is something of the case here.

This is an Irish film production but was made in the United States, based on a novel in a series by Dan Wells, exploring the central character with the evocative name John Wayne Cleaver, not just the John Wayne part but also the implications of Cleaver. So, this is something of an Irish perspective on an American phenomenon.

Max Records plays the teenage Cleaver, who goes to school, whose father has walked out on the family but sends inept gifts for Christmas, has a rebellious older sister, and who works in the local small-town mortuary with his mother and her assistant. John seems morbidly interested in serial killers, and wonders whether he himself has that capacity, reassuring his counsellor that when he has killer feelings, he tries to say something good and affirming instead.

He is seeing a psychologist, and they discuss what it is to be a sociopath, which seems to be an accurate diagnosis for John. He does not make emotional connections and does not really know how to make them or to deal with personal interactions with people, even his mother.

What leads to a development, the fact of a series of killings in his town on, the bodies (at least those which are discovered) coming to the mortuary for the family preparation for burial. There is something bizarre about some of the corpses, the removal of organs, suggestions of oil…

The Cleavers have neighbours, an elderly gentleman with a kindly wife, who has been a community leader in his past. He is played by Christopher Lloyd, an interestingly challenging role for him in his old age.

While the audience might be guessing that there is something suspicious about the neighbour, it quickly emerges that John and everyone should be suspicious. What follows are some bizarre killings – and, perhaps surprisingly, a step into what is usually referred to as the supernatural but which generally means something demonic.

What will John do? How does a sociopath handle this kind of situation? Will it inflame his serial killer motivations and action?

Well, that is what the latter part of the film is about an audience will just have to go and see!

1. The title, expectations and interest?

2. An American novel, an Irish perspective on the US? On serial killers? On the supernatural?

3. The small town, the family, friends, neighbours, the barber, the psychologist? The focus on the mortuary and its work? The musical score?

4. Sociopaths, the explanations, seeing a sociopath in action, John Wayne Cleaver and the implications of his name? His consultations with the psychologist? His behaviour, self-knowledge, his drives, seeing something good instead of harming? Giving in to his impulses? Help from family, from school friends?

5. The family, the father leaving, his inept gifts for Christmas? The mother, her work, keeping the mortuary going, the skills? Margaret and her help? The mother and friendly with the psychologist? The hopes for John? His sister, in and out of the house, her angers, coming for the meals?

6. The murders, the bodies, the police, at the mortuary, the missing organs, the oil, the mystery?

7. John Wayne Cleaver, his age, experience, school, his friend, self-knowledge, discussions with the psychologist, his explanations, listening to advice? His reflections? His room? His interest in serial killers?

8. Crowley, the good neighbour, relationship with his wife, resident for many years, talking, John helping clear the snow, carrying the wife’s groceries?

9. John suspicions, spying on Crowley, following him, to the fishing expedition, to the man in the tractor? The photos of Crowley, his honours, for the record? The murder on the ice? The appearance and disappearance of the bodies? At the barbershop, John watching, going to the room, the killing? The body in the car? The cumulative effect of the murders in the town? The newspaper reports? The television? The police investigations?

10. John, buying the GPS, putting it in Crowley’s car, going to the house, John’s attack on Crowley’s wife, almost killing her? His fear, the phone call to the psychologist, the psychologist coming out on the road, Crowley seeing him, killing him? His return home, John and his phone calls, his threats? Crowley finding him?

11. The confrontation, the explanation, the threats, the emerging monster? The supernatural element? The irony of Crowley’s love for his wife?

12. The wife, her living, the happy memories? John and his family? His future?

THE LIGHT BETWEEN OCEANS

UK, 2016, 133 minutes, Colour.

Michael Fassbender, Alicia Vikander, Rachel Weisz, Florence Clery, Jack Thompson, Thomas Unger, Jane Menelaus, Gary Mc Donald, Anthony Hayes, Bryan Brown, Emily Barclay, Leon Ford.
Directed by Derek Cianfrance.

This is a genteel, often gentle, romantic story that takes its own time to unfold over more than two hours. it is obviously not a drama for adrenaline junkies.

The setting is Western Australia at the end of World War I and into the 1920s, based on a bestseller by M. K, Steadman. The filming actually took place in New Zealand and on the north-west coast of Tasmania, some beautiful and some disturbing rugged scenes as well as of seas and storms.

Tom, Michael Fassbender, who had served on the Western Front during the war and had experienced the harshness of the trenches and the killing, returns to Australia and takes a temporary job on an isolated lighthouse out in the Indian Ocean. It gives him a chance to recover, to recuperate some of his physical and psychological strength, and he welcomes being alone.

Before he goes, he has a meal in the coastal town with a local family, with Gary Mc Donald and Jane Menelaus as the parents of Isabel, Alcia Vikander.they where there He is a local teacher. Isabel is attracted to Tom, going on a picnic with him, sharing thoughts and feelings, and beginning a letter correspondence which, in a quiet way, leads to proposal, acceptance, marriage, and the couple going to live at the lighthouse.

Th in e are not completely isolated as a boat brings them supplies, captained by Jack Thompson doing his old rough and ready lag performance. The couple are at home on the island, loving, he very much a duty-bound and conscientious about his job, logs and reports. Isabel becomes pregnant but, during a storm scene, she has a miscarriage.

It is a bit difficult to review this film because of the complications of the plot so, let it suffice to say that it does become more complicated, especially for Isabel and her desire to be a mother, for Tom and his being prepared to do anything for his wife.

The other central character Hannah, is played by Rachel Weisz who has experienced tragedy in her life, especially with the disappearance of her husband and young daughter. She has been disowned at the time of her marriage by her wealthy father, played by Bryan Brown.

The latter part of the film is not easy, tensions between Tom and Isabel, a sympathy for Hannah and her plight.

Michael Fassbender has played quite a range of roles, some sinister, some very complex. But his performance as Tom communicates the personality of a decent and conscientious man, a loving man, sometimes torn between duty and love. And Alicia Vikander has shown what a strong screen presence she has from A Royal Affair to Ex- Machina, to Testament of Youth and her Oscar-winning role in The Danish Girl.

Director Derek Cianfrance has made few films, the interesting Blue Valentine and The Place Beyond the Pines.

This is a film to recommend to an adult audience interested in drama and characterisation and not worried about the measured pace in which the plot unfolds.


1. The title, the lighthouse and its light? The child and its light?

2. New Zealand in Tasmania locations for Western Australia? 1980 into the 1920s? The town, the island, the lighthouse? The rugged scenery, the scenes, the cliffs? The beauty? The musical score? 1918, the end of the war, the memories of the war, attitude towards the Germans, hostility? The experience of the Western front, deaths and killings? Tom and his wanting to be alone, to recuperate? The life of the lighthouse urging him?

3. Tom, a decent man, war and death, his strict father, the return from the war, the interview, the job, for a short time, the request to stay longer, his predecessor ill and mad? His meeting the family in the town, the encounter with Isabelle, the meal, going on the picnic, sharing ideas and emotions, love, the writing of the letters, the tenderness, Tom accepting the contract for three years? Proposal, marriage, going to the island, married life, the passing of time, Isabelle pregnant, the storm, the miscarriage? Her grief?

4. Isabelle, in her family, proper, love for Tom, the picnic, the letters, the effect of the marriage, happiness, life on the island, pregnancy, the storm? The gift of the piano? Her second pregnancy?

5. The second miscarriage and its effect? Tom Berry burying the children, the crosses?

6. The boat, Tom and Isabel running to the beach, getting the boat, the dead man, saving the baby? His coming so soon after the death of the child, Isabelle’s reaction, wanting to keep the baby, Tom any sense of duty? Isabelle pleading, her sense of loss? His sending the signal, that the baby was there is? The consequences?

7. Life continuing, Ralph and Louis, the boat on the visits? Accepting the story? Julie? Bill and violet, the characters, teacher, the love for Isabelle, happy grandparents? The importance of the rattle from the boat – and Louis later seeing it?

8. The passing of time, the child growing, walking, talking?

9. The preparation for the christening, the absent vicar, the ceremony? Tom in the cemetery, seeing Hannah, looking at the grave, the debt husband, her sister telling Tom and Isabel about what it happened? Tom writing the note and leaving it to reassure Hannah? Her going to the police, putting file?

10. Anna, her story, the flashbacks, her father being hostile, her meeting Frederick, the decision to marry, her being cut off? Her happiness? Fred and his being taunted, the German? In the boat, with the baby, his death?

11. The celebration for the 40th anniversary of the lighthouse, the gathering, Tom seeing Hannah, his being asked to make a speech, his awkwardness? The social, the two families meeting? The effect? Anna and her grief? Tom and his self-sacrifice?

12. Anna, the rattle, going to the police, Tom second letter? Tom and Isabel returning, Tom accepting his fate, Isabel not, Ralph and his return?

13. Tom in prison, the interrogation, the police investigator, the accusation of murder? Isabelle and her parents, the resentment towards Tom? Ralph and his exhortation? Tom and his sense of fatalism?

14. Hannah, getting the baby back from Isabelle, her reluctance? Her name of grace? Grace with her grandfather, horseriding?

15. Anna, her being hurt, remembering her husband is talking about forgiveness and resentment last lifetime? Her becoming willing to give up the baby to Isabelle – thinking only of the baby is good?

16. Grace, riding with her grandfather, and a teaching her to make daisy chains, Grace moving to accept her mother? Hannah going to Isabelle at the wall?

17. The postscript in 1950, Isabel dead, Tom and his life, the visit of the young woman – and saying that her name was Lucy Grace, wanting to come again to visit her father…?

THE LAST HURRAH

US, 1958, 121 minutes, Black and white.
Spencer Tracy, Jeffrey Hunter, Diane Foster, Pat O'Brien, Basil Rathbone, Donald Crisp, James Gleason, Edward Brophy, John Carradine, Willis Bouchey, Basil Rysdael, Ricardo Cortes, Wallace Ford, Frank Mc Hugh.
Directed by John Ford.

The Last Hurrah is based on a novel by Edwin O’Connor?. It is a film about American politics in the 1950s and harking back to old styles in campaigning and elections, the personal influences, the use of money, personal grants. television was emerging as a force in campaigning. It is based on an actual Mayor of Boston, Curley, who was opposed to the film but was paid off by Columbia for the rights.

The film was drawn written by Frank Nugent, a frequent collaborator with director, John Ford, who takes some time off from the many westerns he made during the 1950s.

The film is a star vehicle for Spencer Tracy, one of his best, the gruff and ambitious politician – and a reminder of an earlier film from the 1950s, The People against O’Hara?. Ford has assembled a large cast of character actors who had appeared in many of his films, ranging from Donald Crisp as the Cardinal of Boston to Frank Mc Hugh and Wallace Ford.

Jeffrey Hunter, who had appeared in The Searchers and other Ford films, plays a young journalist following the campaign.

The film shows the mix of politics in the 1950s, the various communities in Boston, the Catholics, the Irish, the Italians, the Protestants, Chinese… Jewish references as well as ecumenical references, especially to the Protestant bishop.

The action takes place in the 1950s – just before politics were to change with the presidency of John F. Kennedy.

1. A film of the 1950s? American politics? Traditions and clashes? The new media? The end of an era? Campaigns, style? The importance of money? In the old proven and true methods?

2. The work of John Ford, Irish and Catholic background, his cast, and the regular character actors? Change from westerns?

3. Writer, Frank Nugent, and collaboration with John Ford? Catholicism, detailed and informed? The Jewish references, Winslow? Ecumenical references in the Protestant bishop? The Cardinal, the role of the laity, Papal Knights,? The era before John F. Kennedy?

4. The film based on the real-life Mayor of Boston, Curly? The stories of American mayors and campaigns and policies? New York and Tammany? An authentic feel?

5. Boston, the city, New England and Massachusetts? The variety of neighbourhoods, the wards, the Irish, WASP, the Chinese, the Italians? The American mixture of the 1950s?

6. Black-and-white photography, sharp dialogue, editing and pace? An intelligent drama?

7. Spencer Tracy as Frank Skeffington, the portrait of a politician, old-style, Irish and Catholic? His character, in himself, age and experience, family? The five terms? His last attempt at re-election? The politicking style, cash, his influence, the political machine, the men going out to tout for votes, especially the Irish Catholics?

8. Skeffington’s opposition, Mc Cluskey, young, Catholic? His poor television performance?

9. The role of Amos Force and his newspapers? The Protestant bishop? Cass, the banker? Their motivations, tactics? The reasons for the opposition of the Cardinal?

10. Adam Caulfield, nephew of Skeffington, his in-laws and their opposition to Skeffington? Journalist role, the commission from Force, going to the rallies, the dinners, the speeches? The impact on Adam?

11. The death and the wake, Adam and his presence, the revelation that Skeffington had given money to the widow? The crowd going to the funeral??

12. The issue of the loan, the bank’s refusal? Skeffington going to the Plymouth Club, confronting the editor, the banker, the Bishop? The pressure on the appointment of the inept son to authority?

13. The vote, the defeat? Skeffington accepting it, the disheartened colleagues? His stroke, confession – and saying that he would not change his life if he had it over again?

MASTERMINDS

US, 2016, 95 minutes, Colour.
Zach Galifiniakis, Owen Wilson, Kristin Wiig, Jason Sudeikis, Kate Mac Kinnon, Leslie Jones.
Directed by Jared Hess.

Masterminds they are not!

This is a surprisingly enjoyable comedy, better than might have been expected, providing some laughs and some appreciative chuckles. While it is a comedy, the film has a serious underlying plot, based on actual events of 1997, the robbery of $17 million from an armoured car in a somewhat backwoods area of North Carolina. Working title of the film was Armoured Car.

What makes the difference, and one wonders how much this was based on the actual character, is Galifiniakis’ performance as David Ghant, a very ordinary type, more than a touch of the dumb, yet with a certain innate shrewdness, engaged to a harridan of a woman (Kate Mac Kinnon) who feels she needs to get married especially after her loving fiance dies and all that seems to be left is David.

He works for a company transferring cash for banks, and is partnered with a woman that he does not realise he is smitten with, Kelly, Kristin Wiig, though she is part of a bunch of crooks, led by Steve, Owen Wilson, who think that it would be a good idea to use David to rob the armoured car company.

This actually happens – but not without a great deal of goofy pratfalls as David single-handed takes all the money in the vault.

Needless to say, he is to be the fall guy, urged to go down to Mexico with his trousers full of cash, Kelly promising to come to be with him, but…

On the one hand there is the comedy as the less than mastermind Steve is goaded by his wife to buy clothes, then a sports car, then more sports cars, then a mansion…

In the meantime, David becomes a bit more savvy, is able to elude the police, disguise himself, but is confronted by a hitman sent by his colleagues. The hitman is played by Jason Sudeikis who provides a lot of the comedy with his serious take on his job, discovering that David has been given his name and, instead of being suspicious, remembers The Parent Trap and how two siblings could grow up without knowing each other!

There are some final shenanigans at a big party hosted by Steve, with the FBI agents closing in for arrests.

Though the film was made before the recent Ghostbusters, this film does feature three of them, Kristin Wiig, Kate MacKinnon? and, as an FBI agent, Leslie Jones.

Probably rather silly, but not a swear word within earshot, some very mild rude jokes, but a pleasing enough hour and a half.

1. An entertaining blend of comedy and true robbery story? Investigation?

2. The story of 1997, the credibility of the characters, the robbery itself, its extent? The factual information given at the end of the film?

3. The title, Armoured Car versus Masterminds?

4. The Carolina settings, the backblocks, the town, homes, the company? The contrast with wealth, shopping, the mansion? The range of the Mexican sequences, flash hotels, poverty and the streets? The musical score and songs?

5. The cast, the Saturday Night Live background, comic performance, stand-up, their comic styles? The range of jokes, deadpan, pratfalls? The blend of the silly and the ironic? Some mild rude jokes?

6. Zach Galafiniakis as David, his appearance, short and stocky, his hair, his life, his being simple but the touch of the shrewd? At work, his liking for Kelly? Driving, his partner? Going to see his fiancee, her domination, her mother, the photos and the range and humour?

7. Steve, family, his ambitious wife, his looking down on his two children? His friends in the gang? The idea for the robbery? Discussions with Kelly, Kelly and her background in the company, the clash with the boss and mocking him, breaking the window, fired? Her persuading David to go to the diner? Steve with his back turned, calling himself Gepetto and David quibbling about who pulled the strings for Pinocchio? Kelly and her basic seductive line? David and his agreement?

8. The plan, David and his work at the centre, having the key, his partner leaving – but returning and the explanation? The amount of cash in the safe? David and his awkwardness and pratfalls in getting the money into the van? Being locked in the back, the brick and pedal, crashing through the wall? $17 million?

9. David is the fall guy for Steve? Sending him to Mexico, stuffing the money in his pants? At the airport? Mexico, the hotel, the room, enjoying everything? The weekly phone calls to Kelly? His feelings for Kelly, her beginning to feel for him, her not coming to Mexico?

10. Steve and his wife, the kids, her persuading him to spend, the clothes, then the car, then the other cars, the mansion? The neighbours? The big party? Steve and his hoping for David to be arrested, giving the photo and putting him in with the police? David eluding the police? Steve hiring the hitman?

11. David, the police coming, getting the ice, his escape, phoning Kelly, surviving, the disguise? His becoming the target of the hitman?

12. The hit man, his style, enjoying the struggle, David as his target, his deadpan personality? Targeting David, the issue of his identity, the same name, his using the Parent Trap as an understanding of the bond between them? Not killing David? David seeing Kelly’s name on his hand, that she was the next target? Their exchanging tickets, David going home to the rescue?

13. The background of the Mexican police, the American FBI, the agents, their interviewing everyone, David’s fiance and her mother, the interview with Kelly, interviewing David’s partner, Steve?

14. David, getting back, dressing up for the party, the gift, Kelly locked in the shed, his rescuing her? The barrels of money – and his throwing one in the lake for the future? Getting the car, crashing into the gate, the FBI agents?

15. The neighbours, the hidden microphone, the explosion?

16. Steve, being recorded, his berating David, the FBI listening, the arrests?

17. David and Kelly, their discussions, going to jail? With the money afterwards?

18. The jokey credits and the information about what happened to everyone?

KEEPING UP WITH THE JONESES

US, 2016, 105 minutes, Colour.

Zach Galifiniakis, Isla Fisher, Jon Hamm, Gal Gaddo, Patton Oswalt, Matt Walsh, Maribeth Munroe.
Directed by Greg Mottola.

This is an entertaining suburban story, not particularly demanding, with some amusing characters, comic situations – and some suburban espionage in Atlanta, Georgia.

It is the Gaffneys, Karen and Jeff, who are the couple who have to keep up with the Joneses. He is played by Zach Galifiniakis, proving in 2016 to be an entertaining comic performer, here and in Masterminds, more restrained than in his Hangover days. She is played by Isla Fisher (who is married to Sacha Baron Cohen which should keep her in training for offbeat comedy). They see their two sons of to summer camp and decide to enjoy the time off – with a humorous imagining of sexcapades but settling down with some snacks to watch The Good Wife.

Jeff works at a highly specialised industrial centre in Human Resources and we are treated to a collage of some funny, seemingly inept, attempts to settle disputes. He is a kindly man, even allowing workmates to come in to use his computer for contacts that are forbidden by the company. Meanwhile, Karen is an interior designer and their neighbours have decided that they want a Brooklyn-style urinal installed in their house and she has to be creative about it.

But Karen is distracted because, across the street, a new couple move in, the Joneses. He is played by Jon Hamm (partly answering the question about what does Jon Hamm do after 92 episodes of Madcap men), Tim Jones and Gal Gaddo (the Israeli actress who has already been seen as Wonder Woman in Batman versus Superman and will soon have her own film, and is definitely suited to the part) is Natalie Jones.

The trouble is that Jeff is benign and accepts the invitation by Tim to go to a Chinese restaurant, specialising in snakes, so that Tim can loosen him up and pump him for information about the company and the workers. Karen is more assertive, following Natalie, seeing her make a drop, and exposed, in more ways than one, when she is caught by Natalie trying out lingerie.

Actually, it is not hard to see where the plot is continually taking us, to see whether the Joneses are the good guys or the bad guys, sinister motorbike pursuits, dangerous car ride (with Karen getting a phone call from the two boys at camp about cookies) and Jeff having to get out onto the back of the car to remove a dynamite pack that the enemy has tossed there!

We might be a bit surprised at who the villains are, selling the secrets, but it is all given a suburban and employment explanation. And as for the climax, the lavish hotel in Atlanta receives a huge boost as being the scene of some mayhem as the Gaffneys act as decoys to ferret out the archvillain, Patton Oswalt in an enjoyable comic performance as well.

There are some humorous writing and performances which will while away a pleasantly and demanding hour and a half.

1. Comedy of the suburbs – and spies?

2. The Atlanta setting, the city, the cul-de-sac, the stylish homes, neighbours? The celebration of the Junetober Festival? Everyone together? The industrial plant? Jobs? Quality of life? The musical score?

3. The title, the phrase, suggestions of humour? The characters, comedy, the dialogue, situations? Spoof? Sending up while using the spy conventions?

4. Karen and Jeff, the kids going to camp, going home, imagining the sexcapades, the reality - watching television? Their encounter with their neighbours, he working at MBI, she with the new house decoration, the Brooklyn-urinal? Karen designing it?

5. The Joneses arriving, the image? Karen watching, phoning Jeff at work? His arriving home, the blunder about spying, their having coffee, Natalie washing-up, the gift of the glass? The conversation, all about their work, Tim and his travel writing, glass blowing, and all the evidence on the computer? Natalie and her cooking, the Sri Lankan orphans? Karen looking out the window at night, seeing the case and the car?

6. Karen, curious, following Natalie, seeing the drop, in the store, the encounter with the lingerie – buying it and Karen later using it?

7. Jeff, jovial, working in human relations, the collage of his human resources work, the trusting woman, the bickering gay couple, allowing people to use his computer for Internet use?

8. Jeff and Tim, going to the Chinese restaurant, the episodes with the snake in the wine, his getting drunk, his being bitten, giving the information to Tim?

9. The Junetober first, Tim and his being lost looking for the toilet, Natalie and her stylish dress, the impact on everyone? The ideal couple?

10. Tim and his search? Karen and Jeff, going into the house, the search, the discovery of the computer, the espionage?

11. Jeff and his worry, going to the security supervisor – and his being shot?

12. Tim and Nathalie rescuing Karen and Jeff, their concern, in the car, the phone call from the boys at camp, the chase, the cars and crashes, the motorbikers? The bomb on the car and Jeff getting rid of it, the explosion? The aftermath, in the cafe, trying to get some answers – but no answers?

13. Tim and Natalie getting home, the house exploding, their escape, having the neighbours tied up in the basement? The truth? The neighbour and his financial and employment motivation for stealing the secrets?

14. The decision to trap the Scorpion, dressing up, as decoys, the flash hotel, the backup? Encountering the Scorpion, Bruce at MBI, his upset and counselling about the car park? Stealing and selling? The danger, the backup moving out? Tim and Natalie taken? Karen, seeing the knife, the kiss, Jeff’s shock, the upset, the chase, Jeff crashing into the window, everybody jumping, his finally being in the pool, the explosion?

15. Tim and Natalie, their arguing about lying and their profession?

16. Marrakesh, Karen and Jeff, seeing Tim and Natalie and their being pregnant…?

OUIJA: ORIGIN OF EVIL

US, 2016, 99 minutes, Colour.
Elisabeth Reaser, Lulu Wilson, Annalisa Basso, Henry Thomas, Doug Jones.
Directed by Mike Flanagan.

Checking on the number of films with Ouija in the title, it appears that there are quite a few, many of them in recent years. Does this mean that Ouija boards are becoming more popular? Or that they are a handy way of introducing variations on horror films?

This version, which is a prequel to the film, Ouija, 2014, immediately shows seances and the possibilities for a scam – although Alice Xander and her two daughters conduct the seances but try to be kind and nonjudgemental to their clients. The older daughter sneaks out at night to join friends who have a Ouija board and they play it, highlighting how people can put pressure on the board to get the answers required.

This would hardly be the basis for a horror film! Alice Xander (Elizabeth Reaser) decides it wouldn’t do any harm to buy a Ouija board as a prop for future seances. And they try it out, attempting to make contact with the deceased husband and father – with unexpected results for them and expected results for us. There is something obviously sinister about this Ouija board.

The film will remind horror addicts of scary scenes in many another film, and some overtones of The Exorcist, as well as some monster creatures – who, not to our surprise, have been inhabiting this house and listening to all that is going on, a background of a sadistic doctor in the concentration camps in World War II and migrating to the United States, still being sinister. The date for this prequel is 1967.

1967 is interesting as a date for the priest character in the film, Father Tom, played by ET’s Henry Thomas. Henry Thomas is closer to 50 than 40 and it is revealed that before becoming a priest he had been married with his wife dying. He seems quite a sensible priest, offering good advice, the principal of the school which the girls attend, instrumental in solving a puzzle about mysterious writing that appears in the house, detailing that story of the monster in World War II. There are a few frissons about clerical celibacy when he invites Alice to dinner at a restaurant, solely to talk about the situation of the girls and the mysterious happenings at home. and, like a good priest, he investigates the Ouija board in order to deceive the demon, but…

As with The Exorcist and some other films, it is the little girl who is the key to the proceedings, who seems to be open to the seemingly supernatural, who can be possessed by demons, speaking different voices, experiencing all kinds of physical contortions while possessed. Lulu Wilson is particularly effective as the little girl, Doris, often stealing the show from the adults. Her character was central to the original Ouija film. Annalise Basso is the teenage daughter trying to help her sister as well as her mother – and with a sympathetic boyfriend.

As well as the scary atmosphere, made scary for many audiences because this is a domestic scene, there are quite a number of jump cuts in the editing for people to leap out of their seats and/or to scream.

Horror fans will notice the name of Lin Shaye in the final credits – linking her to Ouija as well as to the Insidious films and The Conjuring films to which this film is indebted for background in haunted houses and evil spirits. But, the piece of advice: audiences must wait until after the final credits for a new scene, the scene in which Lin Shaye appears.

All in all, not bad.

1. A title that and expectations? Twists and perspectives?

2. A prequel to the 2014 film, giving the background, establishing characters?

3. Audiences and their interest in Ouija boards, seances? Reality? Scams? Belief or not?

4. 1967, the American home, the streets, schools and offices, the interiors of the house, the rooms, upstairs, the basement, the hidden laboratory? The musical score?

5. The horror traditions, the use of the conventions, seances and scams, scares, edit jumps, possessions, hauntings, monsters, deformed faces? Confrontations?

6. The family situation, the dead father, the clients for the seances, the details, sympathy, the father and his concern, the sceptical daughter, her wanting money? The family considering that they were helping people? The daughters, at school, their ages, grief of their father, Lina and her participation in seances with her mother? Doris, younger, inquiring? Her homework, being teased at school by the boys?

7. Lina, going out, deceiving her mother, her mother collecting her? The Ouija game? The introduction of the theme, Alice deciding to buy one, the use, its effect? Doris enter questions? Her becoming possessed? The Ouija board and understanding what was in people’s minds and not their deceptions?

8. The effect on Doris, the ordinary girl at nine, watching television, grief that her father, seeing the monster in the mirror and her bending over? The contortions, her face? The voices and the answers? At school, her being teased, the slingshot wounding the boy? The written homework? Father Tom, is good advice and affirmation? Her blackening the doll’s lips? The Polish documents? The confrontation with Lina’s boyfriend, going down to the cellar, getting him to put his arm in the hole, is hanging? The creatures, the voices, the savagery, Marcus and his story, the confrontation with Lina, her mother, her disappearance?

9. Lina, her age, grief, going out at night, her work at school, her boyfriend, her mother threatening him, his visit to play records in her room, the kiss? Her helping Doris? The Polish writing? The encounters with father Tom, giving him the information? In the house, the apparition of her father, going down to the cellar, possessed, killing her mother? The aftermath in the institution?

10. The mother, coping, going to the school, the issue of the homework and the writing, the Ouija board, the answers about her husband? Discussions with father Tom, going to dinner with him? The Polish document, upstairs? Down in the cellar, the climax, her being bound, her death?

11. Father Tom, a Catholic priest in 1967, principal of the school, his age, a widower, his memories of his wife? His helping Doris in the yard, affirming her? Helping Lina? The dinner with Alice? His decision to try out the Ouija board, is deceiving the board, going down to the basement, the discovery of the laboratory, his being possessed, shutting the door to save Alice and his own death?

12. The story of Marcus, the nun translating the documents, World War II, the experiments in the camp, then liberated, coming to America, experiments, deaths, the bodies in the basement, in the hole in the wall? Marcus and his being the monster? Taking possession of people? His listening in the house to everything that was going on? And the rule that the Ouija board was not to be used in a graveyard – and the house is a graveyard?

13. The boyfriend, nice, the visits, Alice and her warnings, the records with Lina, going to the basement, deceived by Doris? Hanging?

14. Scares, atmosphere, the plausibility of this kind of horror story?

BOYS IN THE TREES

Australia, 2016, 112 minutes, Colour.
Toby Wallace, Gulliver Mc Grath, Mitzi Ruhlmann, Justin Holborow.
Directed by Nicholas Verso.

The setting is 1997. It is Halloween.

This story of teenagers in the Australian suburbs becomes more impressive as it unfolds. At first, it looks like a typical enough presentation of youngsters, quite an amount of skateboarding, some showing off, a particularly unpleasant episode of bullying, and young males mouthing off in obnoxious ways. The males then all get dressed up in Halloween costumes, many as predatory animals with comments akin – and it is surprising, in retrospect, to see such elaborate details of Halloween behaviour at that time.

But soon the film becomes much more introspective. The central character is Corey, who literally runs with the pack, but who separates himself off at times because of his skill with his camera, intending to go to New York with a scholarship to continue photography courses, despite the objections of his father. The victim of the bullying is Jonah, looking younger, short in height, a skateboarder but obviously used to being pushed around and humiliated. Corey takes his photo and later, Jango, the dominating leader of the pack, photocopies the photo and places it prominently in the streets and in the parks.

Corey is challenged by Romany, who also wants to get out of the place, allows herself to be partly trapped with the group but goes off to work on a late shift. As Corey wanders off from the group, he encounters Jonah at the skateboard rink. Jonah falls and hurts his head, a possible concussion, and asks Corey to walk home with him as something of an apology.

And here the film moves from Corey’s introspection to a mysterious world of imagination and fantasy, combining it with the realism of the walk home, the Halloween behaviour, Corey going to see Romany at the shop, Jango leading his troop making a mess of the shop, and Corey clashing with Jango and separating off, still accompanying Jonah.

It emerges that the two boys have a past friendship but that Corey betrayed Jonah and abandoned him. To relive something of the past, going back into their memories, of Jonah’s mother dying – and their encounter of Hispanic group in a local costume commemorating a death and singing plaintively, a little girl who emerges from a huge open drain exit and a mysterious man dressed in white.

The boys are particularly convincing, Toby Wallace emerging from being a child actor as Corey; Gulliver McGrath? who has worked for Steven Spielberg in Lincoln and Martin Scorsese in Hugo, bringing quite some vulnerability to Jonah; and Justin Holobrow completely believable as the pier-pressuring Jango. Mitzi Ruhlmann is Romany.

The film was made in Adelaide by former DJ, Nicholas Verso, who has also made a number of short films. This film should be more than a calling card for his career as a director. Early in the year, another film came from Adelaide, Girl Asleep. This was also the story of teenagers, this time set in the 70s, focusing on a teenage girl blending the realism of her school and family story with quite an excursion into a world of fantasy. The two films could be seen as striking companion pieces.

Boys in the Trees (who seem to have their head in the trees, refusing to grow up, then literally climbing trees with the potential for a fall) could be a challenge to its target audience but also makes quite an impact on an older audience.

1. Memories of the 1990s about Australian teenagers in growing up? Universal appeal?

2. Adelaide, the suburbs, the streets and homes, the skate board rink, parks, the shop? The sense of realism? The musical score?

3. The insertion of fantasy, gradual throughout the film? Jonah and his death, his appearance, Corey’s experience, the entrance to the drain and the story of the girl, the man in white, the ghosts and shadows, the Hispanic memorial of the dead?

4. The title, Romany at explanation, the boys with their heads in the trees, growing up, not growing up, climbing and falling?

5. The initial atmosphere, the skateboard, the group, the piers and the peer pressure, their skills, Jango and his leadership, manner of talking, his bullying Jonah? Corey is part of the group, the talk, the laughter, the peer pressure on him? Is taking photographs, his skills? Taking the photo of Jonah, Jango copying it and putting it up around the suburbs?

6. The shift in the film to introspection, Corey, going home, the interactions with his father, the absent mother, his being bored, irritated by his father, his photos, his dark room, the information from New York? Jango arriving, Jango focused only on the present, Corey throwing the application in the rubbish? Is later beginning to fill it out?

7. Halloween, the atmosphere, celebrated in Australia in 1997 like this? Costumes, trick or treat, the first turning of the paper, the lights? The atmosphere? Death, Demons?

8. Corey, the pack, the Wolf disguises, predatory? Jango and his philosophy, living in the present, attitude towards women, language about them, sexuality? Corey and his separating off, the talk with Romany, her wanting to move out, the challenge to him?

9. Jonah, the photo, is skateboard, his drinking at the weird, smashing the bottle, the water – and the later revelation of his death? Corey seeing him skating, the only make up, his four, head, the wound and blood, Corey checking his breathing and Jonah tricking him? Wanting an apology from Corey? It in him to accompany him home?

10. The remembering, the flashbacks, the boys together, play, the gradual insertion and amplification of the story? The attack on Jonah, Corey breaking with him, abandoning him? The St at school, the boys, the criticism, the bullying? Corey asking Romany if she had ever done such a thing?

11. The night, the talk, Corey and his fears, Jonah testing him? Corey exposed, Jonah and his wise insights? Going to the shop, Jonah looking in, Corey talking with Romany, sharing ambitions and hopes? Jango in the group arriving, trashing everything? Corey leaving his camera, leaving the group, breaking off with Jango?

12. Going to Romany’s house, the work, coming home, the touches of Romeo and Juliet, the young lovers, the balcony, kissing, the sexual encounter, sharing their experiences? The future?

13. The fantasy, the open drain, the story of the girl inside, Corey and his fears, going into the drain and finding Jonah? The Hispanic memory of the dead? Jonas photo there? The appearances of the main in quite? Come from the drain, the at the momentum of the dead, accompanying Jonah?

14. Coring Jonah, the possibilities for reconciliation?

15. Corey discovering Jonah did, his grief, calling his father, waiting for him? Staying with the body, promising his father to go fishing with him, the reconciliation? Jango coming, the two embracing, Corey is weeping, Jango’s patience – and the group looking on surprised?

16. The later Halloween, the Skype contact, Romany and her acting career in Canada, seeing the snow, Corey putting on his costume, his job, the range of masks and the memories of Jonah?

THE PIANO

New Zealand, 1993, 114 minutes, Colour.
Holly Hunter, Harvey Keitel, Sam Neill, Anna Paquin, Kerry Walker, Genevieve Lemon, Ian Mune, Cliff Curtis.
Directed by Jane Campion.

Jane Campion has made a telemovie, Two Friends, a bizarre black comedy, Sweetie, and the impressive portrait of Janet Frame, An Angel at My Table. The Piano has won the Palme d’Or at the Cannes Film Festival, Holly Hunter winning Best Actress. The Piano was nominated for 13 Australian Film Institute Awards and won for best film, director, screenplay, actor, actress. Holly Hunter and Anna Paquin won Oscars for their performances as did Jane Campion for her screenplay.

Awards and marketing created enormous expectations from audiences. The Piano is an art film and anyone who thought it an entertaining night out may well be disappointed. It is a demanding film.

Set in the rainforests of New Zealand (and its mighty wave-pounded coast), it is beautifully photographed. Michael Nyman’s score is both romantic and idiosyncratic, especially for the pieces played passionately on her piano by the heroine, Holly Hunter performing the playing herself.

The piano is the personal possession of Ada, who travels to New Zealand with her young daughter, Flora, for an arranged marriage with landowners Stewart (Sam Neill). She is mute, signing and interpreted (often with angry vigour) by her daughter. But she can communicate via the piano.

It should be said that the setting is the mid-19th century and Jane Campion has alluded to Emily Brontë’s Wuthering Heights. This is helpful to appreciate the wildly exotic atmosphere, the tempestuous relationships as well as the colonial version of prim Victorian manners. Infrequent cinemagoers may be momentarily taken aback by some sexual sequences.

The acting is excellent. Holly Hunter, so versatile in Broadcast News, The Firm, Raising Arizona, gives an austere performance on the surface, it is the mute passion within is intensely communicated. Harvey Keitel offers a complex interpretation of a lonely man bewitched by the strange woman and her piano.

Sam Neill is the husband and has to convey some tenderness as well as being a man of his times, with colonial and chauvinist attitudes and behaviour that he is unaware of, a reticent style that can erupt in cruelty.

Anna Paquin, who has had a subsequent very successful career, is excellent as Flora.

Visually impressive, stylishly directed, both elegant and raw, this is a drama of the constraints of arranged marriages, of the amour fou, the madness of love, in a remote part of the world where the Maoris are being exploited (though they can still mock the newcomers) and despair is more than possible.

1. Acclaim for the film? Festivals, Australian awards, Oscars? The status of the film as a classic?

2. New Zealand production, Australian production, International background and cast?

3. The career of Jane Campion? Writing and directing this film? Her New Zealand heritage? Her perspective on women? Awards?

4. New Zealand, the coast, elemental, the sea, the shore and the sand, the forests, the rain and the mud, the homes in the forest, the town, the church? Costumes and decor?

5. The music, the background, Ada’s pieces, Holly Hunter playing, the classics and the celebration at Christmas?

6. The title, the focus, the piano for Ada, for George, Stewart? Symbol? The sensibilities of the director, the cast and their interpretation? The style of the photography, real, realistic, symbolic?

7. 1990s perspectives on men and women in the 19th and 20th centuries, especially the role of women? The narrow focus of the men, dominance and possession? Issues of sex and sexuality? Race, the Maoris? Ownership of the land?

8. Ada, Holly Hunter’s performance, her voice-over and her actual silence, the discussion going on in her head? In Scotland, her explaining the situation, with her daughter Flora, her decision not to speak, her being wilful, her choice, people not knowing her, the silences, her control? Her relationship with Flora and the decision to go to New Zealand? Packing, the piano, the voyage? A single woman with child travelling in the 19th century?

9. The landing, the boat, on the shore, the Maoris? George and his presence? Guarding the piano, Flora playing on the beach? Stewart, the Maoris carrying the bags, the decision to leave the piano on the beach?

10. Stewart, decent man, and uncomprehending about what was happening, his being mystified by Ada’s playing the car keys on the table with no sound? Morag agreeing with him? His being unaware of Ada’s expectations? Seeing her as small, trying to cope with Flora? The set up of the house? The work, Morag and Nessie, the Maoris present in house, Stewart and the deals to buy the land? His being straightlaced, the marriage, the photo for the wedding, discovering the truth, observing under the floor, shock? His reaction, anger with George? The brutality of his cutting Ada’s finger?

11. George, English, with the Maoris, his friendship with Stewart, fascination with Ada, getting the piano, the deal, her having to redeem the keys, her bargain about the black keys? His lifting her skirt, gradual revelations, the proposal to lie naked? The sexual encounter, the passion? The effect on George? No longer interested in the piano?

12. The effect on Ada, her determination, her agreement to the deal, George’s proposals, the passionate encounter?

13. Stewart, his marital rights, the photo, the dress? Ada being passive?

14. Flora, precocious, her sign language, speaking for her mother, with some vigour and insistence? Playing as a child? Wary, puzzled about her mother, going to George, the key with the message and her taking it to Stewart?

15. The Maoris, racial background, as a group, freedom, the elders, proposals about marriage, serving as porters? Yet able to mock the newcomers?

16. The Christmas play, the Reverend, the children, the angels, Christmas, the performance? Practising? Nessie, the Shadow play and the attack with the instrument – the Maoris’ fears that it was real and upsetting the performance?

17. Ada, the cutting off of her finger, losing interest in the piano? Being exiled by Stewart, sailing away? With George and Flora? Her wanting the piano to go overboard, her foot in the rope, going into the water, her option to live?

18. Nelson, a quiet life, her voice-over, the metal finger, her playing, her relationship once again with the music, her life, change?

19. A film of symbols and metaphors, music, the piano, the primitive forest and the mud, the water?