FATAL HONEYMOON

Australia/US, 2012, 90 minutes, Colour.
Harvey Keitel, Billy Miller, Amber Clayton, Gary Sweet, Andrew S. Gilbert.
Directed by Nadia Tass.

Fatal Honeymoon is a television movie capitalising on actual events, the death of a young wife, drowned at the Barrier Reef and the charges against her husband for murdering her.

What the film focuses on is the couple, the smooth and sinister charm of the husband, the eagerness of his wife, loving him but also getting away from a rather smothering relationship with her father, the film also focuses on the father, his grief, his quest for vengeance – and he is played by Harvey Keitel.

Most of the action of the film takes place in Alabama, the home state of the couple. The screenplay builds up the relationship, its tensions, the unreliability of the husband. He is a keen diver and his wife is not but she agrees to go diving during their honeymoon in Australia at the Barrier Reef. She dies 11 days after the wedding.

The style of the film is very much popular magazine, giving some background to the story but also feeding somewhat on audience curiosity. While the husband was charged with murder, he pleaded guilty to negligence and manslaughter and received short sentence, going home to America where he was charged again but the case dismissed.

Of interest is the fact that the director is Nadia Tass who made such films as Malcolm, The Big Steal, Rikki and Pete.

1. A film designed for the television audience? The headline title? The television style, the popular audience? Audience curiosity?

2. An Australian film, the director, the cast, the American sequences and cast? The musical score?

3. The atmosphere of Alabama, the Thomas household, College, homes, diving? Australian sequences, the Sydney and koala insertions? Barrier reef, diving, the water? The courts and the law? The media?

4. The narrative, moving backwards and forwards? Tommy and his grief, remembering the past, Tina and Gabe meeting, love, Tommy’s disapproval, his wife’s attitude? Gabe waiting, the ring, the right time, eventually the occasion, kneeling, the proposal? The marriage? The issue of the insurance – and its being delayed? The scene with the Watsons, their support of Gabe, his brother

5. The scenes in Australia, the honeymoon, diving, the visuals, the computer and the indication of Gabe’s behaviour, the witnesses? Killing her or not, cutting off her oxygen?

6. Whether Gabe loved Tina or not, his motivations, a flirt, his mental condition? The performance and the actor able to convey both charm and suspicion, being sinister?

7. Tina’s death, Gabe not grieving, on the other boat? People’s reaction?

8. The Australian police, pursuing Gabe, the arrest, the interrogations, their being filmed, the inconsistencies in his story?

9. Tommy, upset, with his wife? His dominance of Tina and her reaction? Being aggressive, the TV interviews, the years passing, wanting evidence?

10. Four years, Gabe, his character, meeting Kim, proposal, being happy? The search warrant and his reaction?

11. His legal contacts, advice, marrying Kim, the decision to surrender and to avoid being charged with murder?

12. The interlude with the Australian disc jockey, his comments on the situation, the characters, Americans, tourism…?

13. The court scene, Tommy present, Gabe admitting to negligence, the sentence, his going to jail, serving the sentence, getting out?

14. His return to the United States, the warrant for his arrest, the further interrogations, the court case – and his being freed?

15. The impact of the case in its time, in the United States, in Australia?

THE LAST PRINCESS

Korea, 2016, 127 minutes, Colour.
Ye-jin Son, Hae-il Park,
Directed by Jin-ho Hur

Here is a piece of 20th-century Korean history. Most audiences around the world would not be familiar with the characters and events, especially from 1919 and during the 1920s and 30s, into World War II and its aftermath.

The last princess of the title is the daughter of the last Emperor of Korea. after World War I, Japan’s influence in Korea was very strong and it became the colonial outpost of the Japanese Empire. The Emperor resisted this domination by Japan – and he was murdered. While his son became the ruler, subservient to Japan, his younger sister, very young when her father died, by the mid-20s, was being urged to go to Japan for her education. Reluctantly, parting from her mother and her homeland, she did go to Japan but was not to return for another 38 years.

Much of the attention to the history of this part of the world during the 1920s and 30s has been on the Sino- Japanese conflict, the subject of many films from China itself, especially the siege of Nanking in 1937.

There were nationalist Korean movements in Japan at this time, especially a plan for the ruler and for his sister to be smuggled out of Japan and back to Korea. This episode provides quite some drama for the film, tension and action, but it was thwarted.

The princess remained in Japan, a marriage for her to a Japanese husband was arranged, but over the years, with the divorce, her mental and emotional condition collapsed.

The framework of the drama in fact is the events of the early 1960s, the work of the journalist trying to find the location of the princess, his memories of the past and his active intervention in the escape plan for the princess. In this sense, he is the hero of the film while the sinister minister with power over Korea becomes Ye-jin Son as the princess, especially her ageing over the decades, makes quite some impact and draws us into her story, her final deterioration.

An excellent opportunity, over two hours, to learn about Korea in the 20th century and its transformation from Empire to its colonial period and the transitions after World War II.

1. Korean duty history? The 20th century?

2. The recreation of the period, costumes and decor from the 1920s, through the 1930s of the war, postwar? The musical score?

3. The title, audience knowledge of the princess? Audience knowledge of Korea, the Empire? Japan and its colonial government? The experience of World War II, the effect on Japan,
the after mass Japan, on Korea?

4. The two stories, the past and 1961 and the search? The dramatic intercutting?

5. 1919, the family and the photo portrait, the robes of costumes, the dignity and decor? The Emperor, his son and wife, the Princess, the colonial government, the Korea empire, the desire for independence, officials meeting with the Emperor and the accusation of corruption? Han, the assassin, the poison, the Emperor dying, his daughter being present?

6. The transition to 1925, the ruler, the princesses older brother, his wife and family? The threads, the ominous presence of our? Jamg-han and his name, introduced to the princess, his later role?

7. Japanese power, Han and his role, the pressures? The kowtowing to Japan?

8. The discussions about the princess going to Japan to study, her not wanting to go, the mother, the promised to return, and not returning and her mother dying?

9. The Japanese domination of Korea, the ruler and his wife going to Japan? Japanese customs and style, dress and kimonos, the princess trying to keep her independence?

10. The maid, the loyalty, the maid being taken away – but present when the princess returned home?

11. The government, Han and his role?

12. Jang-han, soldier, with and, the discussions about Han and his not having gone to the Academy? Loyalties?

13. The plan for the escape? The princess agreeing? The brother and his reluctance, yet being persuaded? His wife and her resistance? The details of the plan, the people involved?
The timing? The suicide bomber, going to the celebration? His going to the front, the delay, Han escaping, the bomb exploding? The timing, the princess and her being secluded, the
disguise, the brother and his disguise, the car, the pursuits? The confrontation, Jang-han being shot? Han and his control? The ruler deciding that he would stay? Escape to the beach house, the contact and his bringing the but, going to the shore, the princess walking, the man with the boat, the signalling to escape? The capture?

14. The aftermath with the princess, the arranged marriage, the status of her husband, his attempts to make the marriage work, the child? The death of the child? The divorce? The mental decline of the princess, be confined to an institution? The Japanese husband not allowed to go to Korea?

15. 1961, Jang-han working as a journalist, his contact with his friend is supplied the boat for the escape, his bar, customers, his information? Trying to discover the location of the princess? The meetings, the contacts? His travelling to Japan? Discovering the princess, in the institution, going to the room, contact, the gradual recognition? Taking her away?

16. Jang-han, his life, the contacts with the princess over the years, trying to help her escape, restoring her to Korea?

17. The return, the plane, the crowds, the women and their bowing in respect? After 38 years?

18. Information at the end – and the princess’s survival for many years?

A LONELY PLACE TO DIE

UK, 2011, 99 minutes, Colour.
Alec Newman, Melissa George, Ed Speleers, Kate Magowan, Holly Boyd, Douglas Russell, Sean Harris, Karel Roden, Eamon Walker.
Directed by Julian Gilby.

This is an atmospheric thriller, set in the highlands of Scotland, he mountain climbing story. The film opens with a sheer climb, dangers, the fall of one of the climbers and his being rescued.

The group recoups and others join the party for a second climb. They are delayed when they hear a voice in the woods, discover a pipe emerging from a dug-out hole and rescuing a young girl.

There are hunters in the woods but there are also two criminals who have been abducting children and holding them for ransom. They kill the hunters, take their rifles and then pursue the young girl and her rescuers. There are dangerous feats of climbing, falls, going into rivers, waterfalls… And there are quite a number of deaths.

Eventually, two of the rescuers reach the town, ask for the protection of the police, but there are shootouts, especially with the group of shooters acting on behalf of the father of the abducted girl – and he is a Serbian war criminal.

The film is somewhat pessimistic in tone with a number of deaths of “goodies” but there is basically a happy ending.

1. The title? Expectations? Thriller?

2. Scotland, the mountains, the scenery, the town, forest, waterfalls, rapids? The police in the town, the restaurant, homes, the festival celebration and procession? The musical score?

3. Plausibility and implausibility of the plot – pace and involvement?

4. The opening, the climb, the exhilaration, the scenery, the fall, the rescue, the aftermath? Alison and her blaming Ed? Cautioning him? The house, the hosts, the meal, playing cards, and winning?

5. The expedition, everyone going, hearing the sound, the ground, the pipe emerging? Opening the hole, the rescue of the girl? The dilemma about how to rescue her and get back to the town? The plan?

6. Harry and Allison, their skills, to go down the mountain, four miles to the police? Alison descending, the rope not long enough? Harry’s for, his rope having been cut? Alison going to the river?

7. The hunters, out in the mountains? The clash with the killers, the shooting, taking the guns? The pursuit of Allison? The pursuit the group?

8. Anna, her age, not speaking English, her fear? The mystery why she was there? Jenny, the feminine touch, helping, seizing? Jenny and her being dragged into the water, falling, drowning in the river? Alison rescuing Anna?

9. Alison, calling to the group, the killers and their pursuit of Alex, the confrontation, shooting him, his memory of his wife’s death and his accepting his own death?

10. Ed, an ambiguous character, his presence? His being hurt? His helping, he and Allison getting into the town?

11. The killers, this story, the past abductions? Going to the town, the restaurant? The leader of the recovery group, the bluff, the money? The contact by phone?

12. The recovery unit, their involvement, payment, motivation, students?

13. Ed and Alison, going to the police, suspicious of the officer, the police being shot, their escape, in the street, and being shot, his leg, left to die?

14. Alison and Anna, going to the house, the pursuit, the owner being killed, the pursuer setting fire, going upstairs, falling from the window?

15. The killer, his being taken, interrogated?

16. The father, criminal background, war crimes, suspicions, his daughter abducted, his getting the group to get her back?

17. The hospital, and, Alison, restoration?

18. The grim perspective – and so many been killed, not a completely happy ending?

REASONABLE DOUBT

US, 2014, 91 minutes, Colour.
Dominic Cooper, Samuel L. Jackson, Gloria Reuben, Ryan Robbins, Erin Karpluk.
Directed by Peter P. Croudins (Peter Howitt).

Reasonable Doubt is an interesting thriller. It opens with a very smug lawyer, played by Dominic Cooper, winning a case, going out on the town, drinking, finding a gang with his car, failing to find a taxi, driving his car and then hitting someone in the street. He then disguises his voice and rings the police, hoping to avoid detection.

It certainly all comes back to haunt him. A man is accused of murder, a man who had been brutally attacked in his house and his wife and child killed in front of him. He is played with Samuel L. Jackson.

The man is released – but there are many twists in the plot, in the role of Jackson, in a serial killer operating in the city, in the lawyer’s half-brother coming out of jail and taking the blame for his brother…

And, quite a buildup to a violent confrontation, the lawyer in great danger and his wife and child.

An interesting brief thriller.

1. Crime thriller, legal thriller? Twists?

2. Chicago settings, the city, the courts, legal officers, the streets, homes, the warehouse? The musical score?

3. The title, the focus on legal cases, guilt, innocence, reasonable doubt?

4. The introduction to Mitch, prosecutor, winning the case, his theatrics, his complacency, the reaction of his partner? Going to the hospital, his relationship with Rachel, love, admiration for the daughter, photos? His going out on the town, drinking, the men of the car, taxi not stopping, his deciding to drive?

5. The Drive, the police pursuit, stopping, hitting the man? His concern, the plea of the dying man? His phone? Going to the phone box, concealing his voice, asking for the ambulance? His leaving?

6. Edgy, with his wife, not sleeping? The encounter with his brother? The past, Jimmy and in prison, drugs, not being introduced to Rachel? Mitch going to court, is looking for the case against the accused man, Clinton? Going to see him, his being caught with the body in his car, the hammer, the blood? Detective Cannon and her interest? The company, deciding to take case?

7. Mitch in court, the interviews, voice detection? Losing the case? Jimmy, is coming as a witness, alleging he saw the body, phoning in?

8. Mitch talking with Clinton, the underlying meanings? About giving himself in for his and run?

9. Mitch, investigating the case, the alternative? That Mitch was guilty, with the victim going to the street, hit, and Clinton taking the photo and planting it in the house? The audience seeing this alternative?

10. Mitch deciding to follow Clinton, his going to the parole meetings, the assistant and giving Mitch the idea, Clinton and the killing of his wife and family, his own being wounded, that he was picking fenders to kill, going to parole meetings to pick the victims so that they would not send any more?

11. Jimmy, his help, Mitch going into the house, looking for documentation?

12. Clinton, taking Jimmy, torturing him? Mitch going to rescue him? The set up, the blood, the hammer? The police arriving? Arresting Mitch? Taking Jimmy to the hospital?

13. Detective Cannon, her curiosity, not liking Mitch? The interrogation, the evidence pointing to him? Motivations? The phone call, Clinton pretending to be his partner? Mitch any
sitting the policeman, getting out, taking his car, going to rescue Rachel?

14. Rachel, the baby, Clinton coming to the door, getting in, menacing her, and shrewdness innovating him? Mitch arriving, the discussions about Clinton’s case, Mitch calling him a coward, his wanting Mitch to experience what he experienced? The threats to Rachel? Mitch being willing to die for her, Clinton shooting him?

15. The partner arriving, Cannon realising that Mitch was telling the truth, sending the police?

16. Clinton about to shoot Mitch, Cannon killing him?

17. The family reunion at the end, to be surviving, Mitch surviving, gathering and the delight with the baby?

PENTHOUSE NORTH/BLINDSPOT

US, 2013, 90 minutes, Colour.
Michelle Monaghan, Michael Keaton, Barry Sloane, Andrew L. Walker.
Directed by Joseph Ruben.


Joseph Ruben has directed quite a number of small budget thrillers including Sleeping with the Enemy, Dreamscape, True Believer, The Good Son. This film comes rather later in his career.

After a prologue set in a battle sequence in Afghanistan where the central character is deceived by a suicide bomber posing as a mother with a baby, actually a doll, loses her sight. The action takes up three years later and becomes a variation on the Audrey Hepburn thriller, Wait until Dark.

In that 1967 film, the issue was drugs, and it is here. The photographer’s boyfriend is murdered in their apartment, and a thug terrorises her to tell him where diamonds and drugs have been hidden. When she escapes from the apartment, she literally runs into a man who claims to be a policeman but, in fact, is the head of the gang who seems to be controlling his violent henchman but is setting up a situation with the two of them can terrorise the woman.

Michelle Monaghan is the photographer and plays her being terrified quite convincingly. Surprise is that the head of the gang is played by Michael Keaton in his menacing manner. There is some irony in the concealment of the diamonds – and the photographer’s using this to save herself. And then the question, whether she knew what her boyfriend was up to or not.

An effective small thriller.

1. Thriller? Crime? Blind victim? Twist?

2. The opening, the sequence in Afghanistan, the war action, Sarah as photographer, the dangers, the confrontation with the woman with the baby, the burqa, sinister, eyes, the baby being a doll, the explosion, Sarah being blinded?

3. The written city, three years later, the apartment, Sarah and her relationship with Ryan, New Year’s Eve, the plans for her sister and brother-in-law to come to watch the fireworks, her going to the shops, without a stick, the bicycle knocking over and asking whether she was blind, the man helping her? Her return home?

4. The audience seeing Ryan dead, Sarah not seen, calling out, going around the apartment, the blood, the discovery of the truth? The presence of Chad, his attack on the? His sadistic approach, wanting the information?

5. Her escape, down the stairs, Chad and his pursuit, the caretaker and his death? Going out on the street, meeting Hollander, is claiming he was police, a return to the apartment?

6. The issue of the money, stand over tactics, touches of torture, Hollander seeing the picture and finding the money at the back of the picture? But wanting the drugs? His pretense of leaving? His return, arising Sarah?

7. The conflict between Hollander and Chad, Sarah urging Chad on, there telling the story of Ryan and the truth about him? Sarah suggesting the balcony to search for the drugs, the pots? Chad making the drink for Hollander and discovering the diamonds in the ice?

8. The confrontation between Chad and Hollander, his death?

9. Sarah’s sister coming, pregnant, wanting to come in, her husband the policeman, the information about Ryan? Sarah persuading them to go, the water breaking and their going to the hospital?

10. The final confrontation tween Hollander and Sarah, the guns, the knives? On the balcony, Hollander’s advance, her hearing it, the interruption of the fireworks, her memories of the
close confrontation with the woman in Afghanistan, her shooting Hollander?

11. The knowledge of the diamonds and putting them back in the ice?

SAND STORM/ SUFOT CHOL

Israel, 2016, 87 minutes, Colour.
Lamis Ammar.
Directed by Elite Zexer.

Sand Storm is an Israeli film, about a Bedouin village and its customs, spoken in Arabic.

As the film opens, we see traffic on the highway, the goods train passing by, and then a dirt track down into the Bedouin village. A father and daughter are driving, carrying a bed which he cannot take into the house because women are present and his first wife is preparing for his marriage to a second wife.

Immediately the focus is on the role of women in this village, the domination of the men, the subservience of the wives, the older wife having to prepare the house and the marriage celebration for the younger wife, while the younger wife is young and inexperienced. The man already has four daughters.

Another complication is that the rather wilful oldest daughter has been seeing a young man in secret, wants to marry him, the father forbidding it and organising a husband for his daughter. The prospective young man comes to the village to visit, the mother hides him amongst the washing so that he won’t encounter the father, but he does.

The film shows the somewhat cavalier and patriarchal attitude of the father, the determination of the young daughter, the suffering of the mother who then leaves the home to stay with her own mother.

The action of the film is inconclusive – one of the mischievous younger daughters who has already laughed when the new wife has sat on the bed and it collapsed, is now looking at the young wife again, and the credits roll.

1. A film from Israel? A story of Palestine? Bedouin village? The situation of the 21st-century?


2. The impact of the locations, the highways, train lines, the roads off-track to the Bedouin village, the desert, the town? And the city sequences? The musical score?

3. The introduction to Layla, with her father, driving, the result in the exams, his displeasure? Transporting the bed? Her father’s marriage to the younger wife? The presence of his first wife, working hard, not allowing him into the house because of the women, putting the bed together, organising the celebrations, the young bride, her dress, entering?

4. The house, lavish, the household, the rule of the father, the mother to work, hospitality, meals, the washing? Introducing herself to the new bride? Her relationship with her daughters?

5. Layla, seeing the young man, wanting to marry? Her mother’s severe reaction? Meeting the young man, his decision to visit? The mother hiding him? Meeting the father and his severe reaction? The father and his plan for Layla to marry his choice?

6. The mother, her experience, with her husband, leaving, going to live with her mother, taking her daughters? Layla’s visit, the confrontation with her grandmother?

7. The father, with the men, the planned husband? Layla, upset, dragging down the washing? With the new wife, getting the groceries, leaving? Driving to her mother?

8. The new wife, the mischievous little girl who wore jeans, playing, watching the young wife collapsing on the bed?

9. The final sequence, the young girl, watching the young bride – and leaving it to the audience to ponder?

10. The film immersing its audience in the location, with the characters, and with the issues of men and women in the Bedouin village?

ANACONDA

US, 1997, 89 minutes, Colour.
Jennifer Lopez, Ice Cube, John Voight, Eric Stoltz, Jonathan Hyde, Owen Wilson, Kari Wuhrer, Vincent Castellanos, Danny Trejo.
Directed by Luis Llosa.

Anaconda is no masterpiece but provides a lot of tongue-in-cheek entertainment for those who have enjoyed monsters and their threat to humans, a kind of giant snake-Jaws.

It is the kind of material that was popular in the past at Saturday matinees, all the contrived situations for danger, a range of sometimes cardboard characters, some pop dialogue, exotic situations – and, in case we did not realise it, the character played by John Voight is devoured by the Anaconda, vomited (as predicted) out and then giving a wink!

Jennifer Lopez is glamorous as the leader of the expedition, a would-be director making a documentary for an anthropologist played by Eric Stoltz who is bitten early in the film and plays most of it prostrate on his bed in the cabin. Ice Cube is Ice Cube, the photographer for the expedition; Jonathan Hyde is a pompous English Professor. And it is a surprise to see Owen Wilson in the late 90s, just being Owen Wilson, part of the team for the making of the film and offering a bit of double dealing with John Voight who poses as stranded in the jungle, comes on board, takes over the boat to pursue the Anaconda to get its skin and make money. There is a cameo at the beginning of the film by Danny Trejo as one of Voight’s collaborators.

1. A Jaws variation? Monster film? Destruction?


2. The Amazon setting, the hotel, the jungle, the boats, the river, the musical score?

3. How serious? Matinee style adventure? Exaggeration? Pop dialogue?

4. The title, the description, the animatronics? Size, colour, movement, eyes, mouth, throat? Squeezing? Action sequences?

5. The opening, the man on the boat, the attack of the Anaconda, on the mast, shooting himself? The boat adrift, later? The photo of the three hunters? The skins, the snakes?

6. The group, the plan for the documentary, the search for the tribe?

7. Steven, American, his leadership? The professor, his British arrogance? Terry, the director? Danny, photography? Gary and Denise on the staff? The team work? In the boat, the search, personal clashes, the professor and his golf practice…?

8. Finding Serone, his wanting help, to bring him on board? Training to be a priest, going to the real world? His character, knowledge, control? Shooting the boar? The threats, bribing Gary, choking Denise with his legs? Searching the boat, the gear? His being overcome, tied up, getting loose? The goal of the Anaconda, his being taken, vomited out – and his wink?

9. Terry, leader, relationship with Steven, his being poisoned, the hole in his throat, bedridden? Terry and her orders, the dangers?

10. Danny, the confrontation, the filming, on the boat, his being shot?

11. The professor, haughty, having to help, in the water, the Anaconda getting him at the waterfall?

12. Gary, betrayal, relationship with Denise, her sadness, her being killed?

13. Matteo, on board, partnership with Serone, the first to die?

14. Crisis, effects, dangers, thrills?

15. Finally finding the tribe?

MY FATHER’S GUESTS/ LES INVITES DE MON PERE

France, 2010, 100 minutes, Colour.
Fabrice Luchini, Karin Viard, Michel Aumont, Valerie Benguigui, Veronica Novak, Raphael Personazz.
Directed by Anne Le Ny.

This is a French comedy of manners.

The film reflects some attitudes in Europe, specifically France, in the first decade of the 21st-century, the range of migrants, their illegal status, social protest, and a portrait of middle-class French and migrants from Eastern Europe.

The film has a very good role for Michel Aumont, a veteran of films for many decades. He is an old man, veteran of the Resistance, now a widower, who gets it into his head that he should make his home available for some refugees, possibly from Senegal. In fact, he invites a mother and daughter from Moldava, goes through a form of civil marriage, is attracted to the woman, falling in love, and doing everything at her behest, including firing his long-time housekeeper – and decides to ask his son and daughter to renounce their inheritance in favour of the woman.

Fabrice Luchini is the son, somewhat alienated from his father, critical of the woman, but deciding to support his father. Karin Viard is his doctor sister, rather proper and exact. However, she breaks out, is concerned about the migrant’s daughter and her education, the little girl playing with Luchini’s son. His wife is not in favour and eventually goes to the authorities.

Quite a lot of dialogue in the film, some strong discussions about the issues and articulated very well by the central characters.

1. A French comedy of manners? Social situations in France? With migrants from Eastern Europe? 21st-century issues?

2. The city settings, homes, apartments, offices, shops, streets? Musical score?

3. The title and its application? Lucien and his plans, migrants from Africa, illegals, his decision about the mother and daughter from mole Darfur?

4. The focus on Lucien, his age, his record in the Resistance, his social causes, yet hard on his children? Love for his wife, her death? His decision to help migrants? The reaction of his children? The decision about Tatiana and Sorina? The civil marriage? His protection? His attitude towards Tatiana, sexual, falling in love? Her reactions, cold, mercenary, his money? Sorina and her playing with his grandson? His going out, riding the bike, the concert and Tatiana walking out, his asking his children to give up their inheritance?

5. The focus on but Babette, her work as a doctor, severe, organised, her living with Remi, her concern about her father? Growing up, the model child, severe towards her brother? Her reaction to Tatiana, Sorina? Discussions with her brother? The meals with him, the remembering of the past? Her going out on the town, the drinking? Deciding to be more liberated? The affair with the assistant doctor, its continuation, separating from Remi, walking out? Her signing to give up her inheritance? Her concern about Tatiana, not wanting to go to the authorities? Her sister-in-law and the visit to the authorities, arguing with her brother, standing back?

6. The focus on Arnaud? Age, experience, corporate law, in his office, his secretary, orderly? His resentment towards his father’s treatment of him when young, going out, his studies? His marriage, children, 20 years? Love for his wife? Concern about his daughter, her radical causes, her rebellion, his picking her up from the demonstration, her arguing and getting out? His son and his sympathy for Sorina? Her reaction to his father’s plans? The shock of the mother and daughter from Moldava? Her disapproval, seeing Tatiana as a prostitute? Talking with his father? The discussions with his sister? The issue of giving up the inheritance, his signing? His motivations? The authorities? His wife going to the authorities, his standing back?

7. Tatiana, refugee, her background, mercenary, her daughter? The papers, wanting to stay? Lucien helping? The marriage? Her going to work? The daughter going to school? Her slatternly manner, smoking? Going out with Lucien, arranging his pills – and wanting his money? The clashes with the brother and sister? The meals? Lucien going to hospital, and not going to visit him, the preparation to leave and go back home, Arnaud signing the check? The regrets about the daughter doing so well at school?

8. Arnaud’s wife, her place on family, her resentment of Tatiana, the meals, the visits, her exasperation, going to the authorities?

9. Lucien, his housekeeper for so many years, Tatiana firing her? The discussions with Arnaud?

10. Lucien, getting sick, hospital, resenting his daughter, getting out, realising Tatiana did not visit him, her leaving?

11. His retiring to the coast, with his sister, her strictness, vegetarian, Arnaud coming to visit her and sitting and looking at the sea?

12. Issues of society in France? Families, father and children, inheritance? Social consciousness? And the critique of mercenary migrants?

LOVE BIRDS

New Zealand, 2011, 103 minutes, Colour.
Rhys Darby, Sally Hawkins, Emily Barclay, Bryan Brown, Faye Smythe, Craig Hall.
Directed by Paul Murphy.

Love Birds is a very entertaining romantic comedy with a difference. And, it would be a great advantage for audiences to have a love for birds.

The central character is played by Rhys Darby (Flight of the Conchordes). He is Doug, living at home, abandoned by his partner of two years, Susan (Faye Smythe) who urges him to grow up and branch out. At the same time, he encounters a duck with a broken wing. This becomes a symbol of himself, the screenplay making parallels between Doug and the duck, Pierre. They both need to learn how to fly.

The duck itself is quite engaging. and goes to a vet, a pleasant cameo by Bryan Brown, who gives him advice about what the duck can eat, suggests he takes the bird to a sanctuary, but Doug changes his mind, takes the bird home - who gets into his bath, wants to get into bed, seems to have a mind of its own – though he does not mind listening to songs by Queen in the car (many of which are in the score with significant lyrics).

Doug goes to the zoo to get advice, encounters Holly, Sally Hawkins, who is not immediately charmed by him but pressed by her co-worker, Brenda, Emily Barclay, they go to Doug’s house and make various suggestions – and, when Doug has a job at the zoo, he thanks her, takes her out, discovers she has a son who dislikes him, but, of course, he wins her over and takes the son to a cricket match, carrying the duck, and filmed for television.

Doug also has an interesting group of mates, multiracial, who enjoy going to a pub for quiz nights.

In fact, the film is quite engaging as are the leads and, for the time it is pleasantly on the screen, it seems rather plausible.

1. The title, romantic comedy? Birds in the plot? Audiences needing a love for birds?

2. Auckland, the cityscapes, houses, the work on the highways, the zoo, the fair, the planetarium? The range of songs from Queen? The apposite lyrics?

3. The duck and its being a metaphor for Doug and his life? The lost bird, losing its mate, masculine, needing the female? Alone, unable to fly? Being tended, urged to fly, the bonding with Doug, the finale?

4. Doug, his age, likeable, and his family home, his job, his mates and interactions with them, two years with Susan, his shock at her leaving, her dismissal of him? That he remained emotionally underdeveloped?

5. The dog in the house, the pursuit of the duck, finding the duck, its broken wing, mayhem in the house and scattering Susan’s goods, her return with her friend and disturbing all Doug’s possessions? Doug going to the vet, the vet and his style, personable, humorous? The advice to take the bird to the sanctuary, the woman in charge, genial, roaring at the birds, giving the duck a hat and the name? Doug leaving, stopping, returning? Taking Pierre home? Going to the zoo, the first encounter with Holly, her seeming indifference, his reaction? Wanting advice? Taylor attacking him in the street?

6. The duck, the identity of its type, the new name? Doug’s decision to keep Pierre? The vet and his advice, at the supermarket, buying the peas, Pierre enjoying them? Getting into the bath? Wanting to get into the bed, creating the noise? Travelling in the car, listening to the Queen music? Travelling in the bag?

7. Taking Pierre to work, the mates, the racial mix, their talk, playing cricket on the median strip, going to the quiz night?

8. Doug going to the zoo, asking help from Holly, Brenda and her interest in Holly dating, urging her to go to help, their coming to the house, the inflatable bath? The job at the zoo, Holly helping, the mates urging Doug on, Brent, the encounter with Brenda?

9. Doug thanking Holly, the meal at her home, Taylor and his friend, making the asteroid? Holly and the story of her husband, leaving, Taylor and his anxieties? Anti-Doug? as a new father? But Doug taking Taylor to the cricket, with Pierre, on television? Taking him to the planetarium, the professor and the explanations about the asteroid?

10. The quiz, Doug taking Holly, Brent upset, Brenda turning up? Doug dancing with Holly – and Susan coming in and seeing them?

11. Craig, friend, his business failing, Doug wanting to sell his house? Bankrupt? Meeting Susan, the sexual encounter, casual? The bankruptcy and his going to with Doug, hearing about Susan, wanting to warn him, going to the restaurant, creating the scene?

12. Susan, wanting only the best, being dumped by Doug?

13. Pierre, lost, the search, Doug going out in the rain, playing the Queen music, Pierre coming back?

14. Doug telling Holly that he was going to have dinner with Susan? Her being hurt? The failure of the dinner and his leaving?

15. Doug coming to the door, Holly not letting him in? At the fair, his dressing up as an astronaut, his apology, Taylor helping?

16. The vet, persuading Doug to let Pierre fly, going up in the balloon? Brent and his getting the mower fixed, its chasing Pierre – and Pierre flying?

17. Happy ending, Doug taking Holly in the balloon – and Doug transformed, like Pierre, and flying and finding a companion?

SNATCH

UK, 2000, 102 minutes, Colour.
Jason Statham, Brad Pitt, Stephen Graham, Benicio del Toro, Dennis Farina, Vinnie Jones, Rade Serbedzija, Alan Ford, Mike Reid, Robbie Gee, Lenny James.
Directed by Guy Ritchie.

Snatch is a London gangster film, a genre made popular during the latter part of the 1990s, especially with director Guy Ritchie’s first film, Lock, Stock and Two Smoking Barrels. As with his previous film, there are quite a lot of characters, serious characters as well is an amount of spoof and satire in their presentation.

The narrative is told from the point of view of Turkish, Jason Statham who had made an impact in Ritchie’s previous films and was to go on to a very successful international career as a tough guy. He is small time, with an arcade, boxing connections and a rather slow-witted friend, Tommy, Stephen Graham.

The title of the film comes from a cache of diamonds which is snatched from an Antwerp jeweller’s headquarters and change hands many times during the film – including into a dog’s mouth.

The film has an array of oddball characters, with some oddball names. Mike Reid plays Doug, a tough boss with a range of henchmen, with betting connections, fixing matches. Turkish and his friend Tommy want a caravan and go to a gypsy camp to buy one where they seem to be successful but are swindled. They encounter one of the Gypsies, played by Brad Pitt with an incomprehensible accent, who has a powerful knockout blow and they line him up for a succession of bouts which he spoils with his knockout. There is a gambler, played by Benicio del Toro, and his London connection for fencing the diamonds – and his American counterpart, played by Dennis Farina, who comes to the UK and can’t stand it, hiring some muscle played by Vinnie Jones. And then there is a group of inept thieves, mixed race and gay overtones.

All the stories interconnect – but there is vengeance by the boxing entrepreneur and the destruction of the gypsy camp and the fighter’s mother, leading to another bout as well as to a violent confrontation with the entrepreneur and his men.

There is also some Russian muscle getting into the act.

But the diamonds finish up with the original fence making contact with the American counterpart.

Guy Ritchie was to go on to make Revolver and Rock‘n’rolla and then branch out with his Sherlock Holmes’ films with Robert Downey Jr and Jude Law.

1. The 1990s popularity of British gangster films? The blend of the serious in the spoof?

2
. Guy Ritchie, his career, serious, satire, spoofs?
3. The atmosphere of London, 2000? The variety of locations? The continent to the UK? The world of gangsters, thieves, the boxing world, the Gypsies, farms, the streets, the business world? The musical score?

4. The introduction, Antwerp, the jewellers, the Jewish Orthodox dress, the irony of the thieves in disguise? The screens, the robbery, the diamonds, going to London? The contact in London and the contact in the United States? The title and the reference to the taking of the diamonds?

5. The introduction to all the characters, their names on screen? The interconnection throughout the plot?

6. Turkish, Tommy, the characters, Tommy as slow, Turkish and his wits? The boxing connection, the arcade, wanting the caravan, setting up of the fights?

7. The Russians in the deals, the criminal connections, the thugs, Boris the Blade? The diamonds, the thieves tracking them down, Boris and his selling the gun to Tommy? The pursuits, the car, knocked down, Boris shot?

8. The inept thieves, gay, racial, lack, the deals, going to the betting centre, the robbery, little cash, the being caught? The CCTV? Doug, the fat man, the arrival, the threats, the cutting of the body, the man put in the case? The getting rid of unwanted bodies? The shooting, the hacking? The irony of the concealing of the diamonds? The time limit, 48 hours? Tracking, the dog and the diamonds, the car crash? The Gypsies, the mother, Brad Pitt and his presence in the film, the accent, his friend, in the caravan, the deals, the trick, the crash? Getting him to fight, the knockout, his not fulfilling his promise, the losses, the setup and the repeat, the vengeance, the burning of the caravan, the death of his mother? The fight, the knockout, the setting up in the vengeance the Gypsies have on the criminal gang?

9. Turkish and Tommy, the narration, the events, safe, caught, the connections with the gypsy, arranging the bouts? Finally, with the diamonds and the dealer and the American connection?

10. Avi, American, anti-UK, tough, his experience of London, action, his hiring Tony, Tony and his role, the shooting, Tony’s death? Back to the US, the phone call – and back to the UK for the diamonds?

11. The range of crooks, the names, the associations, no honour among thieves?

12. The situations, the sendup – and the body count?