A ROOM AND A HALF

Russia, 2008, 130 minutes, Coloour.
Grigoriy Dityatkovskiy.
Directed by Andrey Khrzharnovskiy.

Whether you have heard of or read the poems of Nobel Literature Prize winner, Joseph Brodsky, is not essential to being fascinated by this imaginative Russian film. The makers suggest that it is not related to actual characters even though it serves as part portrait and a touch of biography. It is mainly a creative interpretation of the meaning of his life.

Brodsky, who died in 1996 at the age of 55, was born during World War II in Leningrad, a city which suffered greatly during the war, much of it being destroyed and large numbers of the population dying. The Brodskys were Jewish Russians.

The biographical aspects of the story show the father returning from official work in China in 1948, the young boy's strong bonds with both his parents but the hardships that increased as the Soviet years went on. He is something of a philosopher and poet and is at times awkward with his peers. That changes somewhat in the 1960s as he is tantalised, as were so many of the young adults of the time, with the post-Stalinist (comparative) freedoms. (There is a scene where a teacher comes almost hysterically into a class and announces the death of Stalin and everyone falls to the floor in grief). Ultimately, Brodsky had to leave Russia and settled in the US, where he became a professor and was naturalised.

However, the poetic notion of this film is that he did return to the now St Petersburg, re-assessing his life and ideas and meeting his dead parents. He says that memory is like a film, scenes flowing (not necessarily in chronological order) and being edited. This is a film of memories, both of what was and what might have been.

The director is a noted Russian animator and documentary maker and there are many animated sequences (especially with a cat who was a family favourite). This is his first feature film (made in his late 60s). Lovers of classical Russian films will delight in his vision, artistry, his visuals, his portrait of St Petersburg (from the elegant city of Brodsky's childhood to the beautiful modern city which does now serve as an incongruous backdrop to contemporary shops and takeaways and casual dress that Stalin would never have approved of.

There are some poignant sequences of phone calls from prosperous America to dingy Leningrad where Brodsky's parents interpret their son's calls as his being ill and deprived of food. There is this yearning in Brodsky for his homeland – he never did return in fact – and for his parents. The parents are the strongest characters in the film, conveying with great feeling what it was like to live through those years - and be thwarted by officialdom in their attempts to get permission to go to the US to visit their son. They are memorably portrayed by Sergei Yursky and (especially) Alisa Frejlindkh. Grigoriy Dityatkovskiy is Brodsky.

Contemplative cinema is still alive – as is the spirit and style of Tarkvosky.

WILD CITY/ MAI SING

Hong Kong, 2015, 120 minutes, Colour.
Louis Koo, Shawn Yue.
Directed by Ringo Lam.

Wild City is Hong Kong production by veteran director, Ringo Lam. It is a blend of police investigation with gangster thriller, focusing on a former policeman who has been compromised because of his letting go of his half-brother. He now manages a night club and comes across a drunk woman, helping her and becoming involved in her being pursued, having taken money from a lawyer, the gangsters wanting the money back and pursuing the nightclub owner and his brother.

Colourful, and a variation on popular Hong Kong film themes.


1. A Hong Kong story? The director, his career, Hong Kong perspectives? Action films?

2. The Hong Kong locations, police presence, the world of criminals, criminal lawyers, homes, apartments? The bar? The musical score?

3. Action on the streets, the stunts, special effects, chases?

4. Themes of corruption, the law, is brought in from Taiwan, the abduction of the woman? Action, chase, cars, trucks, the boats? The confrontations?

5. The woman, her relationship with the lawyer, the flashbacks, the issue of the cash, taking it, drinking in the bar, T- Man and his help, her car, taking her to his mother, his brother finding her? The case, the pursuits, chases, in the boat, the money in the water, recovering the case? The fights?

6. T- Man and his story, a former policeman, resigning because of his brother and his criminal activity, owning the bar, the customers, the girl, his help, talking? His brother and the chase in the tow truck, his pursuit in the car? At the hotel, the cash, into the boat, the money in the water, recovery, the final fights?

7. The brother, criminal, driving the taxi, the tow truck, his pursuit in the truck, his relationship with T- Man, his mother? Attracted to the girl? In the boat? The fights?

8. The criminal boss, wanting the license, hiring the lawyer, the plan for the abduction, the thugs brought in?

9. The thugs, their role, Taiwan, the death, the funeral, vengeance?

10. The portrait of the police, investigations, pursuits, the relationship with T- Man, the arrest and interrogation, letting them go?

11. The Hong Kong thriller and introduction to the crime world?

DEEPWATER HORIZON

US, 2016, 107 minutes, Colour.
Mark Wahlberg, Kurt Russell, John Malkovich, Gena Rodriguez, Kate Hudson, Dylan O’ Brien.
Directed by Peter Berg.

2016 has seen Their Finest Hour, Sully and Deepwater Horizon. These are stories of American disasters and stories of American heroism – the heroism of ordinary men and women who rely on their courage and on their abilities to save situations, to rescue men and women in danger. One might ask: are they becoming alternative to comic book stories and superheroes!

Many audiences will remember the actual events on which this film is based, the oil rig in the Gulf of Mexico, South-east of Louisiana, the BP rig which exploded, 11 men losing their lives, and millions of gallons of oil poured into the sea for almost 3 months. This is a dramatic reconstruction, relying on the dramatic story, the dangers, the heroism rather than any detailed portrait of the characters involved. These are quite sketchy with only the central character, Michael Williams, getting something of a family story, an electronics expert who was to go on the rig for three weeks, leaving his wife and daughter, enabling the screenplay to have some characters on land, anxious about what was going on at sea.

With its slight delineation of characters except in these crisis situations, the film is of much more interest to audiences with some knowledge of engineering, the oil industry, the building and working of rigs, the extraordinary technology in their building, then maintaining, their mission of discovering oil.

The screenplay uses a little device at the opening of the film when Michael Williams’ young daughter is explaining her school project on her father’s job and using a Coca-Cola? can and a straw inserted to illustrate pressure and gusher. The only woman seen on the staff, Andrea (Gina Rodriguez) is having a difficulty with starting her car and riding on her boyfriend’s bike to work. We are shown the security for those going out onto the rigs, the helicopter flight, the vastness of the rig (which, publicity tells us, has been one of the largest film sets ever constructed – and destroyed).

One of the principal workers on the rig, Mr Jimmy (Kurt Russell appropriately strong and tough) has been honoured by BP and Deepwater Horizon has been named as one of the safest sites for years.

Trouble is indicated when workers are leaving the rig without having completed cement testing and is compounded by the presence of an official, played with his often sinister style by John Malkovich, with the critique that the company is cutting costs (recklessly).

The main part of the film shows the build-up to the explosion, the work of each individual and their competence, the gradual difficulties, rumblings below the surface of the water, difficulties with pipes and communications.

When Oscar time comes round, it is usually the superhero films which receive nominations for special effects and stunt work, with this kind of film being taken for granted that it was just dramatising what was actually seen on news footage. But, it has to be said, the director Peter Berg emerges his audience totally in the experience, has editors who are able to create a swift and anxious pace, and special effects experts who could persuade an audience to believe that they were seeing the real thing.

Mark Wahlberg is Michael Williams, given the opportunity to be a serious expert, a loving husband and father, a loyal member of the crew, strong in his commitment and heroism. Kate Hudson plays his wife (and for a momentary embrace with Mr Jimmy, the first time that she has acted with her father, Kurt Russell).

There is a visual tribute at the end to the 11 who lost their lives, some glimpses of court proceedings and hearings.

1. Audience knowledge of the facts on which this film is based? BP as a company, into oil explorations, in the Gulf of Mexico, the rigs, their size and power, their work? The tragedy? The explosion, the loss of lives, the pouring of the oil into the sea?

2. The impact of the recreation of the rig and its giant set, the exteriors, the interiors of the rig, the tug in attendance? The audience immersed in the life of the rig? The technology, the details? The depth of the rig for exploration?

3. The stunt work, the special effects for the explosions, the burning of the rig, underwater, in the night? The heroism and the saving of lives, the dangers from fire? The rescues?

4. The atmospheric musical score and its contribution to the audience involvement?

5. The work of the director, a sense of realism, immersing his audience in the experience? The importance of the editing and pace?

6. The title of the film, the Deepwater Horizon in the Gulf of Mexico, its safety record? The personnel, the decorations of merit? As owned by BP, the implication of cutting costs, individuals, executives and their pressure on staff and crew? The consequences? The film opening with the voice-over of the court case? The final footage from the court proceedings? Judgment? The consequences of the spill and the responsibility for BP?

7. The human touch with the Williams family, Michael and Felicia, her dream, breakfast, their daughter, her love for dinosaurs, the preparation of the project for her father’s job, and the use of the Coca-Cola? can and the straw to alert audience to the work of the rig? The contact by Skype? The consequences for waiting wives? Children? The dinosaur tooth?

8. Michael Williams, his character, electronics expert, three weeks on the rig? His friendship with Mr Jimmy, his leadership, honours given to him, strong, relating well with his crew? The assembly, security, the helicopter ride, the overview of the rig?

9. Taking the officials on the helicopter, the hit with the bird and the alert? The later oil-covered bird on the rig?

10. The BP official, his insistence, noting what he thought was insolence? The effect of the explosion on him, bewildered, the rescue?

11. Arriving, the technicians leaving, the enquiries about the cement test and its not being done? The decision to have substitute tests? Seemingly successful?

12. The ordinariness of life on the rig, cabins, Mr Jimmy having his shower, the camaraderie amongst the crew? Andrea and her work? The background of her car not starting and riding on her boyfriend’s bike and getting to work?

13. The initial signs, pressures, sounds, the BP official and his dominance? The range of technology, testing? The sense of responsibility of Jason and his using his wits?

14. The gradual build-up for the explosion, the mud coming up, the mud pouring out, the igniting of the fires? The issue spread? The vastness of the rig, the vastness of the fires, the further explosions, the people getting caught up, burning, injured, dead, falling from the rig? The vast machinery, breaking down, crashing?

15. Michael Williams, the injuries, going to find Mr Jimmy, Mr Jimmy in the shower, the glass, his boot, being rescued, going to the centre, ordering people off? Andrea and her supervisor and his refusing to touch the switch because not authorised? Andrea authorised?

16. The scene showing the escape from the rig, the man swinging the machinery but dying, Michael and his associate and the burns, turning on the power? Andrea, the rescue, going higher, seeing that the raft had gone, Mr Jimmy and the raft from above, going into the water? Michael urging Andrea to jump over the fire, her fears, his pushing her, his own jump, underwater, their being saved, her gratitude?

17. The work of the Coast Guard, the communications, phone calls, surveillance, decisions, the helicopters, the rescues?

18. Those saved coming to shore, relatives waiting, the angry big man wanting his son and accosting Michael? Michael collapsing in the room, Felicia and their daughter finding him?

19. The consequences, Mr Jimmy continuing working, Michael and Andrea not continuing on rigs? And the consequences for BP?

STORKS

US, 2016, 91 minutes, Colour.
Voices of: Andy Samberg, Katie Crown, Kelsey Grammar, Jennifer Aniston, Ty Burrell, Anton Starkman, Keegan -Michael Keye, Jordan Peele, Danny Trejo.
Directed by Nicholas Stoller, Doug Sweetland.

After seeing the trailer for this animated film, the question arose as to how prevalent and popular the story about storks bringing babies to eager parents really is. Are there children today who have been told the story and believe it? Or is it one of those transitional stories, like Santa Claus, which children move on from?

Be that as it may, the story capitalises on the story of storks and shows them operating traditionally at the opening of the film. However, it then makes a nod to contemporary commerce and a new role for the storks – being employed by a CEO stork in his warehouse where people can order all kinds of goods and the storks will deliver them, an avian kind of alternate delivery.

The hero of the film is a wisecracking stork, something of a loner amongst his peers, someone to the office of the boss thinking he will be fired but is promised that he will become the new CEO. all well and good except the has the task of firing a young girl, now turning 18, who stork missed out on her address and so she was not delivered but has continued to stay in the warehouse – but is certainly accident-prone.

When Tulip, the young girl, put in charge of the letters room (who would write letters these days when email, texting… Is available?), and the young boy, wanting to have a brother, actually sends a letter and she puts it into process and the baby is produced for delivery – which our hero and Tulip go through all kinds of adventures to deliver.

The children in the audience seemed to be delighted in the action and all the mishaps and pratfalls. The father of the children pulled often enough and some funny situations and humorous dialogue.

The animation is more or less what we have become accustomed to and expect, the voice cast is very good, including Andy Sandberg as the hero.

Entertaining enough while it is there but not so memorable.

1. An entertaining fantasy?

2. The animation style, the, the factory, adventures, flight, the wolves, the boat, the mazes? Individuals, the credits? Birds, due to?

3. The audience and the tradition of the stories about storks and delivering babies? Children today and their knowledge, reactions?

4. The images of old deliveries? The transition to commerce and different deliveries, the factory, the huge space?

5. Change, the Corner store and the work of the storks? Will it work? The boss, the pigeon toady and his depiction as the yes-man?

6. Introduction to Junior, everybody too busy, not going out with him? The boss summoning him? His imagination? Being fired? Going to the boss, the boss being friendly? The potential for taking over? The issue of Tulip, the accidents, the chart with profits going up and

7. Tulip, 18 years old, Jasper and his loss of the address? Her living in the warehouse? The problems? Her ingenuity with flight and the crash?

8. Junior, dealing with Tulip, unable to tell her the truth? Her prospects?

9. His solution in giving her the job in the Letters Office? No letters?

10. The Gardner family, the story, Candidate, his parents, being busy? His interest in Ninjas? Wanting a brother, writing the letter, the visuals of the process of collecting the letter, delivering? Tulip receiving it? Junior’s reaction? Setting the baby manufacture in process?

11. The cute baby, the baby jokes, the delivery flight, Junior?

12. The wolves, appearances, characters, funny, wanting to be parents, the pursuit?

13. Tulip Junior, the hit, the chase, the wharf, being detected, Junior and the hold, being guided by Tulip through the maze, crashing into the glass, the babies?

14. Going to the house, its being closed? Tulip and Jasper, Tulip being delivered, not going in?

15. The boss, the capture?

16. The storks, difficulties in the factory, the toady, getting the help of the penguins, the bells?

17. The confrontation with the boss, the process, more babies being produced, the variety, multiracial?

18. Going to the Gardner family, the delivery of the baby, the reaction of the parents and their preparation for the baby coming, the rooms, the painting the house, the authorities wanting to prevent it? Nate being dismayed that he now had sister, pleased with ninja possibilities?

19. Tulip, discovering her family, everybody gathering round, the extended family and their excitement?

20. The credits, the range of baby pictures?

SNOWDEN

US, 2016, 134 minutes, Colour.
Joseph Gordon- Levitt, Shailene Woodley, Rhys Ifans, Zachary Quinto, Melissa Leo, Tom Wilkinson, Nicolas Cage, Timothy Olyphant, Julie Richardson, Ben Schnetzer, Scott Eastwood, Ben Chaplin.
Directed by Oliver Stone.

Within a comparatively short time, Snowden has become a household name, something of a sign of contradiction – and now the subject of a film, not just a film, but one co-written and directed by Oliver Stone. With his films about Vietnam and his experience there, especially Platoon, but more with his portraits of American presidents: the conspiracies in JFK, Anthony Hopkins as Nixon, and the Bushes, father and son in W, he is one of the foremost filmmakers focusing on American politics, at the top.

Perhaps it should be said first that Snowden is one of Stone’s most straightforward films. While there is plenty of scope for conspiracy theories, Edward Snowden has emerged as a fairly straightforward person. He does not carry the personal baggage of Julian Assange, personally or politically – and there have been documentaries about Assange, especially WikiLeaks? by Alex Gibney, as well as with Benedict Cumberbatch as Assange in The Fifth Estate. Snowden has had his documentary, Citizenfour, by Laura Poitras, who is played by Melissa Leo in this film, filming her interviews with Snowden in Hong Kong.

Joseph Gordon Levitt gives a persuasive performance as Snowden, more quietly played or underplayed, nothing bombastic about him.

The film moves around in time, initially showing us Snowden’s taking his material to Hong Kong, the arrangements for the New York Times and the Guardian to interview him with a view to publication, which occurred.

As he explains himself, the film goes back to his life as a rather ordinary man, American conservative in his political views, very loyal, affected by 9/11, doing military training which made too many physical demands on him, working for the CIA, an expert on IT. The film also shows his relationship with Lindsay (Shailene Woodley), a young woman with liberal views, a photographer – and Snowden shows himself very shy about being photographed.

As he becomes more and more involved in his work, showing how sharp and quick he was in his wits and his working with IT, under the mentoring of the serious and intense Corbin (Rhys Ifans), appointed to Switzerland, discovering more and more about the surveillance of American citizens, he gradually begins to be alarmed at the amount of surveillance to which is contributing. He works for other firms but decides to accept an appointment to Hawaii. Again he finds even more extensive surveillance and makes a personal decision, a moral decision, that he should make this material known.

There are some dramatic tension in the sequence where he has to get the information beyond security gates in Hawaii and shrewdly uses a Rubik Cube to distract the guards.

So, unable to return home, he travelled to Russia and, to date, is still in Moscow where he has been joined by Lindsay.

Certainly an interesting drama but also very cautionary tale about privacy, secrecy, surveillance, government information about citizens…

To be continued.

1. Audience knowledge about Edward Snowden, his actions in 2013, his motivations, accusations of being a traitor? This film helping audiences with information and clarity?

2. Stances for and against Edward Snowden – the film enabling stances for possible change?

3. The Hong Kong framework, the flashbacks, from 2005 and the different stages of Snowden’s life and career, his attitudes, patriotism, conservative stances, in action, questions, the influence of Lindsay, his final decisions?

4. The impression of Snowden with Joseph Gordon-Levitt’s? performance, 29, his action and decision, in the room in Hong Kong, Laura, Greenwald and MacAskill?, recounting his history, and their questions? The tension and waiting? The Rubik cube, the code for meeting the journalists, the room, putting the phones in the microwave, Laura and her filming? The nature of the questions and interview? The Guardian, the New York Times, Jeanine in New York, her associates, the hearing, having to make the decision, her making it and the follow-up?

5. The scenes of military training, the intensity, Snowden and his earnestness, his fall, the fragility of his legs, hospital?

6. Corbin, the recruitment to the CIA, the meetings, the interviews, Snowden and his motivation, the task, his achieving it in 38 minutes, Corbin’s surprise, his friendship with Snowden, going out with the rifles, assigning him to different jobs, not going to the Middle East because that was not where the future, long-term, was?

7. The assignment to Geneva, the computer jobs, programming, development, Snowden and his being highly intelligent, clever with IT, the themes of surveillance, the meeting with Gabriel, his expertise, the extent of surveillance, the visual diagrams on screen, contacts, the further contacts and networks? The banker from Pakistan, the party, Lindsay softening him, Snowden and his awkwardness in making contacts? Snowden and his agent friend, the techniques for getting at the banker, surveillance, the banker’s daughter, her relationship, the man two-timing her, getting the confidence of the banker, his drinking, his desperation, the plan to get him on drunk driving and so have power over him? Snowden and his hesitant reaction, going along with the regulations – but his later having the lie detector test about improper use of a program?

8. His decision to leave the CIA, Corbin and his reaction? Going to the National Security Council, his research, developing programs, opportunities?

9. The relationship with Lindsay, the initial contact on the website? Meeting, talking, becoming a couple, her skill in photography, his unwillingness to be photographed, the collage of photos of him? Going to Geneva, the tension, her not having a job, help with the socials, the Pakistani banker? Returning to the US, at home? The computer, the surveillance camera, Snowden’s reactions? Her being a strong liberal?

10. Snowden and his ideas, conservative, the impact of 9/11, trying to be honest, not a drinker, his work during the Bush administration, differing from Lindsay? His ideas? The Obama election, her hopes, his talk about freedom, security? Later disillusionment with Obama and his stance on surveillance – but the end and the later scenes of his enacting legislation against surveillance?

11. Invitation to go to Hawaii, the set up, the vast underground plant? Trevor and Patrick, the roles and work, surveillance, the drones and destruction? Meeting Gabriel again? Snowden, expertise, his political connections in the CIA? Snowden and the tension, with Lindsay, getting her to return to America? His going to the centre, getting the copy of all the information, his hiding it in the Rubik cube, Patrick helping, talking in sign language – and his device of having the guard trying to play with the cube and its not going through security?

12. Hong Kong, the contact with Jeanine, the long days of interviews, getting the okay to publish, the final revelation of his identity, the television crews in their pursuit? His getting out of the hotel disguised as a cameraman?

13. The local agent, helping him to get away, staying with a Hong Kong family and everybody assuming he was in a hotel? The plane, going to Moscow, Lindsay going to Moscow?

14. The final information about him, the replaying of the television show and his being interviewed from Moscow, the compere, the audience in support of him?

15. Audiences emerging from this film – those for him, those against?

EQUITY

US, 2016, 99 minutes, Colour.
Anna Gunn, James Purefoy, Sarah Megan Thomas, Alysia Reiner, Craig Bierko, Margaret Colin, Nate Corddry.
Directed by Meera Menon.

One of the most remembered and requoted lines from a film is that of Gordon Gecko from Wall Street (1987). He said that “greed is good”.Commentators of the time thought that this was something of an epitaph for the 1980s.

Almost 30 years on, the sentiment is something the same only much more politely raised, “I like money”. This is a statement from the central character in this film, Naomi, a Wall Street wheeler and dealer, working on fledgling companies, ensuring them that she will raise capital, a process that is profitable for all concerned. And, at the end of the film, one of the other central characters states the same thing, leaving us pondering its value and what has happened to Naomi, and what does it profit to gain the whole world and lose…

With the title Equity, it is clear that this is a film about money. What makes the film different is that the principal protagonists who like money are all women. Equity is a term used about finance but there is inequity in terms of the place of women in the financial professions, and inequity is close to inequality, something that this film is concerned with.

Naomi (Anna Gunn) is a self-assured woman, very capable, important in her office, yet, at the opening, one of her companies does not reach expectations and her boss criticises her, indicating that she is not going to be promoted. She is a determined woman and has an assistant who initially seems to be acquiescent and carrying out orders but who, we soon learn, is fiercely ambitious in her own right. The third character, a friend of Naomi from school days, who has been working in investigative jobs, especially in the area of drugs but has been transferred to fraud issues – which leads her to get in contact once again with Naomi.

The bulk of the film is a picture of a new company, Naomi in charge of promotion and fund-raising, getting her assistant to do most of the legwork, the young boss of the company rather assured and self-confident in his manner.

But now Naomi’s boss is a man and is not in a rush that women should break the glass ceiling in financial companies. The head of the new company is also a man, flamboyant in his manner but demanding on Naomi. Naomi herself is in a relationship the financial hedge fund advisor (James Purefoy), a man who is not above double dealing with her, connecting with rather due head of the fund, complacent in a men’s world and prepared to sell Naomi out.

This kind of financial intrigue film has a great deal of plot and plot complications which keep the interest, some sympathy with Naomi at her doing what is best for the company as well as for herself, and even more sympathy as we see the duplicitous side of her assistant, a married woman with a husband at home who does the domestic roles, pregnant but more interested in taking a business phone call during her ultrasound than in the new baby. She becomes less likeable as the film goes on eliciting more sympathy for Naomi and we might have thought we would ever have.

And then there is the woman investigating fraud, with seeming integrity but already being headhunted by a large corporation company – who promise her more substantial salary: “I like money”.

This is very much a film made by women, the director, the writers (the women who play the assistant as well as the fraud investigator) and the performances by three central actresses. It is still a man’s world but these women are going to find their place in it, either with authentic talent and integrity or with the chauvinist male competitiveness that they have experienced themselves.

1. The title? Male and female equality in the workplace? And roles of authority? Financial equity and dealing in companies, shares? Women and their roles?

2. The feminist perspective, the humanist perspective, the director, the writers and performers? Female points of view? Characters and issues, insight and critique?

3. Wall Street, the 20th century philosophy that greed is good? 21st-century and liking money, making money, the prime aim of money? The world of deals, ambitions, betrayals, seeing finance and dealings as a game? Morality issues? Ethics?

4. Naomi as central, her age, experience, the television information about Dyna and the prospects, for the company, the news of its failure? Naomi’s boss, and not getting the promotion? Erin as her assistant, Naomi bossing her, demands, Erin fulfilling them? Her relationship with Michael, trusting him, satisfying her needs? Her prospects? The meeting with Samantha, on the panel with the alumnae, her answer about money and liking working in developing companies?

5. Meeting with Sam, their past, the social, the alumnae, the drink together, Samantha interrogating Naomi about Michael, Naomi leaving upset?

6. Erin, her back story, the househusband and his patience, pregnancy, going to the ultrasound, taking the phone call and her husband urging her to be present to the ultrasound of their child? Working with Naomi, wanting a promotion? Ambitions?

7. Sam, her background in Narcotics, moving to financial fraud, the boss, their discussions, the room, the photos, the arrows, the pad, suspicions? Ben as a target? Curious about Michael, the connection with Naomi? The investigation into Cachet? The personal life, at home, twins, parenting, her partner?

8. Cachet, Naomi and her support of the project, doing the due diligence, her boss’s supervision, getting Erin to prepare the documents? The meetings, abrasive with Ed? The urging of more gentle talk, Erin and her ability, smooth-talking Ed? The members present at the meeting, the issue of privacy in the company, social media? Ed, his background, advisor? Different meetings, Naomi chairing, $35 as the target for shares? Naomi and the arguments? Erin, Ed, the image of the party and inviting people who will then pay up? On the date with him? Getting him to sign the indemnity clause? Naomi and her meeting with Megan, the group against hacking, Megan being fired?

9. Michael and his friendship with Ben, Corey present, the jovial meetings, Michael giving Ben the hedgehog? Michael and his promises, Corey listening?, Ben, sleazy, hedge funds and deals? Your, the Hamptons?

10. Sam, her going after Corey, the social, drinking, smooth talk, the interrogations, getting him to hand over the information? Sam and her interviewing Erin? Naomi and Michael? And her job offer to move on for better salary?

11. Erin, antagonism towards Naomi, and ambitions, going to Michael’s apartment, the pretext of finding Naomi, the documents? The motivation? Michael pumping her? The phone call, the line on speaker, Naomi spelling out the phone number, Michael copying it? Her defence that she did not reveal anything and Michael not receiving any information?

12. Michael, smooth, background, financial advisor, the relationship with Naomi, intimacy, yet his wanting to get information from her, the discussions with Sam, with Erin, getting the phone number, passing it on to Ben, his friend the journalist and the revelation of the rumour, his going to Ben’s company? Stating that it was all a game?

13. Naomi, the phone call to Megan, the risk to the company? Megan giving the information, bought off financially, hanging up on Naomi?

14. The day of the shares, the preparation, tensions, everybody involved, Wall Street and the brokers all working, the different reactions, the rumour, the low price?

15. Naomi, going to her boss, his building block project and her toppling it?

16. Naomi losing out? Her future? Michael and his being invited to be a participant in the new company? Ben and his buying shares and property? Erin, her becoming an associate? Sam and her new job – and her repeating Naomi’s answer about the aim of making money and liking money?

10 THINGS I HATE ABOUT YOU

US, 1999, 97 minutes, Colour.
Heath Ledger, Julia Stiles, Joseph Gordon -Levitt, Larisa Oleynik, David Krumholz, Andrew Keegan, Susan May Pratt, Gabrielle Union, Larry Miller, Alison Janney.
Directed by Gil Junger.

10 Things I Hate About You soon became something of a popular cult classic of the high school genre. It was released in 1999 and reflects a milder approach to raucous comedies which were becoming very popular – this was the year after the first American Pie film.

What made the film particularly interesting was that it derives from Shakespeare’s Taming of the Shrew (and a few years earlier Clueless was very successful, an adaptation and modernisation of Jane Austen’s Emma).

The setting is Seattle, an impressive high school, an eccentric counsellor, played by Alison Janney at her best, businesslike but writing a rather florid romantic novel of the same time. But, it is the students who hold the attention.

Julia Stiles is very effective as the shrewish high school girl, burnt by a liaison in the past, condemnatory of boys, caught up in her studies, acerbic in her comments in class, tough in sports practices. Her sister loves being popular and is resentful when their father, whose wife had abandoned him, is very strict in his discipline and will only allow the younger sister to go on a date if the older sister goes. What follows is a whole lot of plotting to get her to go out.

Heath Ledger is the high school student, something of a free spirit, who is paid money to flirt with the shrewish girl and take her out. this leads to a number of comic situations, including her getting drunk and making a fool of herself and, later, his doing a grandstand (literally) song version of Can’t Take My Eyes Off of You.

Also in the background is an earnest young student played by Joseph Gordon Levitt who is attracted to the younger sister, takes part, along with his friend played by David Krumholz, in the intrigues to organise the dates.

The film has many amusing moments, has good leads, and is an interesting tribute to Shakespeare’s characters and plots.

1. The popularity of this film over time? In the late 1990s? High school comedy, relationships, romance?

2. The Seattle settings, the fine weather, homes and streets, comfortable suburbs, the high school and the imposing building, classrooms, sports fields, home parties, the prom?

3. The musical score, songs, Patrick singing Can’t Take My Eyes off of You? The music at the prom? The final performance on the building roof?

4. The basis of the film in Shakespeare’s Taming of the Shrew? Kat as shrew, the surname Stratford, the shrewish behaviour, taming, the family background, the two sisters? The variations on Shakespeare’s plot?

5. The school setting, the teacher and the reading of poems, his being critical of Kat, complaining, ousting her? His reaction to the other students, critical? The final homework, the poem, Kat reading it? The role of the counsellor, the comic scenes with Patrick, Cam, Kat – her writing the novel, her imagination, taking up verbal descriptions and incorporating them – and the final comic scene during the credits? The sports master, Kat and her flashing herself to get Patrick out of detention?

6. Kat, her manner, her father’s tough attitudes, her mother leaving? Tensions with Bianca, yet love for her? Bianca and her popularity? Kat seen in class, on the sports field, tough, spurning men – and her later revelation to Bianca about her sexual encounter with Joey? Her not being subject to others’ opinions? The encounter with Patrick, talking, going out with him for Bianca’s sake, the party, the drinking, the performance, the aftermath? Music, looking at the guitar? The issue of going to college on the East Coast, her father’s reaction? Bianca critical of her? Patrick singing and performing the song at the sports field? Her going to the prom, dancing, Patrick promising there was nothing in it for him, Joey and the revelation, her anger? Her poem in class, Patrick’s gift of the guitar and her response?

7. Bianca, the younger sister, lively, popular, her girlfriend always agreeing with her? The interest in Joey, his wanting to date her? The problem that the father would let Bianca go out only if Kat had a date? Her interest in Cam, the French lessons, his jealousy of Joey, her kissing him in the car, going to the prom with him? Her going to Kats room, complaining, Kat telling her about the past?

8. Patrick, his look, time in Australia, tough, time away from school tending the sick? The encounter with the counsellor? In class, Joey and the proposition about the money, his decision, upping the ante? Talking with Cameron and Michael? Going out, the party, his reaction to Kats and drinking, the performance of the song? Going to the prom, the tuxedo, dancing, Joey unmasking him? The gift of the guitar, listening to her poem?

9. Cam, his arrival, age, with the counsellor, meeting Michael, their friendship, working together? Infatuation with Bianca? Wanting a date? Supporting Patrick and the plan for Joey? Cam learning French, the encounters with Bianca and talking French, her responses? Bianca upset, Cam upset, Bianca kissing him, the relief, his taking her to the prom?

10. Joey, vain, in class, the model, the deal with Patrick, the money, the past with Kat, arriving to take Bianca to the prom? His comeuppance?

11. Michael, gawky, quoting Shakespeare, attracted to the girl, quoting the poetry, providing the dress, happiness and dance at the prom?

12. The father, the mother leaving, his being careful about his daughter, humour, no dates? His being a gynaecologist and his comments about behaviour? Kat wanting to go to Sarah Lawrence? Finally allowing it? Reactions?

13. The film is genial, funny, the range of characters and the final score on the roof?

BOYS

US, 1996, 89 minutes, Colour.
Winona Ryder, Lukas Haas, John C. Reilly, James Le Gros, Skeet Ulrich, Charlie Hofheimer, Bill Sage, Catherine Keener.
Directed by Stacey Cochran.


Boys is rather brief film about high school students and their encounter with a young woman who had fallen from a horse and whom they found and brought to the school to look after.There are complications with the police looking for the young woman.

The original title the film was The Girl You Want but was changed, apparently to the chagrin of the director, to Boys.

Winona Ryder plays the young woman who had been involved in partying the night before the main action of the film, involved with a star sportsman played by Skeet Ulrich who has drowned in a car crash into the river.

John C.Reilly plays the policeman wanting to question her. Lukas Haas plays the high school student who finds her, with the help of some of the younger boys, but is harassed by his peers wanting to know what is going on, and his reputation being spoiled in the school. Word gets to his parents, Jessica Harper and Chris Cooper, the latter being particularly severe.

The whole experience is liberating for the young man and he is able to defy his father – and, perhaps in a nod to The Graduate, the young man and the young woman elude the police and escape to…

Director is Stacey Cochran who also made My New Gun.

1. Title, the focus?

2. High School, the town, school, parties, the carnival and fair, police precincts? The musical score?

3. Patty, in the house, the inspector questioning her, going to the horse ride, the fall, found, her collapse, John Baker caring for her, the young boy assisting, in his room, his care, the boys and their comments, the older boys and their being understood, their curiosity? The young boy getting the food? In the bathroom, the shelf collapsing? John Baker taking her out in the car, going to the fair, enjoyment, the sexual encounter, the effect on John, the repercussions?

4. Patty and flashbacks, but he Valentine, the party, drinking, going in the car, speeding, the crash? In the water, his death? Patty getting out? In the park, meeting a friend and his girlfriend, their curiosity, persuading them to take her home?

5. The police, the inspector waiting for Patty? On the bridge, retrieving the car? Taking John? The interrogation? John and his parents? Being let go – the two escaping of the elevator?

6. John Baker, at school, creative writing, the teacher and his severity? His friends, with him, in his room? The young boys, taking the car, fighting Patty, bringing her to the room, his care for her, being beguiled by, getting the young boy to get the food, getting the other boys out, they’re telling him his reputation was tarnished, is going out with Patty, fair, enjoyment, the evening? The policeman seeing him, his phone call to his parents, being taken, his being allowed to go to the Spanish quiz, his behaviour in the clients, punching the boy? Going to the station, with his parents, the reaction of his father, of his mother? Escaping with Patty?

7. The small boys, the sympathetic boy, the cantankerous boy?

8. The older boys, friends, curious about the room, the Spanish test, the punch? The reaction of the teacher?

9. John’s parents, the severe father, his mother anxious, is phone call, meeting them, at the police precinct?

10. The police, the detective, the interrogations?

11. The situation with Buddy Valentine, his reputation, the party, Patty and her behaviour at the party, going with him, his death?

12. The overall impact of this film about I school students?

RENOIR

France, 2012, 111 minutes, Colour.
Michel Bouquet, Christa Theret, Vincent Rottiers.
Directed by Gilles Bourdos.

Renoir is a celebrated name in French history, especially of the arts. For those who appreciate the paintings of the older Renoir as well as the films of the younger Renoir, this partial biography will be of interest and aspects of it, fascinating.

This is a leisurely film, capturing the mood of rural France in 1915. There are references to the war and the realisation that it is being waged not far away. In fact, two of the painter’s sons, including the later director, Jean, have served on the front line. But, for the film and its plot, we are in a beautiful French village, a lovely French countryside, a world of visual beauty.

Beauty is an important theme for the film. The artist is surrounded by nature, but is drawn more to portraying the human form, of painting women, and, as he says, his appreciation of flesh. By 1915 Renoir had painted a great number of pictures, and some of them are seen hanging on his wall. There is also the reminder that he painted scenes of ‘lunch on the grass’, with a sequence in the film where the family are at the river, he is painting, and gusts of wind come up tossing cloths and other aspects of the picnic into the water. We also see the artist painting in his studio, especially with his models.

The models have always been important. Renoir has memories of Gabrielle who chose to leave him - but does reappear and joins the family at the end. Renoir has also many memories and paintings of his late wife, the mother of his children, the model to whom he was most devoted.

As the film opens, we see a young girl, Andree cycling towards the Renoir villa. The artist’s wife had recommended her to apply for modelling. She does. She is accepted. Renoir delights in painting her. It is a happy existence except that the rather snobbish staff have a contempt for her.

And then Jean, wounded in the leg, comes back from the war. He is played by the young and versatile actor, Vincent Rottiers years. A patriot, he wants to go back to the front when his wound begins to heal. His father certainly does not want this. Dede (Andree) has fallen in love with him, and he with her, which complicates his emotional life, and the discovery of the possibilities in a relationship with a woman. This leads to some difficulties in the household, the father wanting Dede to return after she has left the house. Jean goes to find her.

This means that for the audience it is principally a portrait of father and son. But it is also a cinema essay in exploration of French art, impressionism, the artist driven to paint.

The family watches cinema, especially Intolerance, released in 1915. The audience is caught up with the magic of cinema and we are given glimpses of the response of Jean who does finally make up his mind that he wants to work in film.

The performances are very strong. 86 year-old Michel Bouquet certainly conveys the character, the genius, aspects of the tortured life of an artist. Vincent Rottiers portrays Jean before he discovers his vocation in life.

There are notes at the end of the film indicating that within four years the older Renoir had died. Jean worked with Dede in film until they parted in 1931. But from the 1930s, with such films as a Marseillaise, The Rules of the Game, the great war, and into the forties when he went to Hollywood and made a number of specialised features, then into the fifties when he returned to France and continued to make masterpieces including his Lola Montez, The Golden Coach and The River. He was to die, celebrated as one of the 20th century’s great directors, in 1979.

1. An entertaining portrait of the painter? French perspective? French pride? Art and heritage?

2. 1916, the countryside, peacefulness, light and beauty, household, the mansion? Glimpses of the war, soldiers on the road? Injuries? The consequences of the war?

3. The importance of the light or the photography? Renoir -like? Painting, posing settings, inside and outside, light and shade, postures, the skin and its tone? The paintings and the paintings in progress? The musical score?

4. Renoir, his reputation, his painting style, with a focus on women, beauty, his models, his wife, models becoming companions? His age – and three more years of his life? His illness, his legs, treatment by doctors? His sons, his perspective on the war? Their injuries? Claude as the young boy around the house and his father’s treatment?

5. Andree, the audience entering the film through her, the bike ride, on the property, the initial encounter with Claude, saying Renoir’s wife had sent her? Meeting the household, the servants and their work? The routines of the household?

6. The interview with Renoir, his decision to hire her, the many sequences posing, natural, naked? Her comment about the money and payment? Interactions with Claude? Clashes with servants, eating in the kitchen, their attitude? Jean’s return from the war, the attraction, concern, the talk? His showing the movie and her being enthralled? And films being part of her
future?

7. Jean, soldier, his wound, return and usefulness, helping his father with the paint, with the paintings? The attraction to Dede? Together, the film, the relationship, his decision to return to the war? The information about what happened later to them?

8. The wounded brother, his father’s attitude? The importance of the three brothers in French cultural history?

9. The situations for the painting, everybody going out, dressing up for the picnics, the water, forest, idyllic – yet the war?

10. The audience sharing the experience of the artist, his work and his vision?

GINGER AND ROSA

UK, 2012, 90 minutes, Colour.
Elle Fanning, Alice Englert, Alessandro Nivola, Christina Hendricks, Timothy Spall, Oliver Platt, Annette Bening, Jodhi May, Oliver Milburn.
Directed by Sally Potter.

Ginger and Rosa is a story about two teenagers in the 1960s, the film going back to 1945 and the end of the war when they were born, the friendship between their mothers, the reactions of the two different fathers.

In the early 1960s, after the austerity of the post-war period, there is an easy life for the teenage girls in the beginning of a more permissive era. It is also the period of nuclear fears and protests against the bomb.

Ginger is the clever girl. She is Played by American Elle Fanning, convincingly British. the Australian Alice Englert, also convincing. There are also other Americans in the cast, including Christina Hendricks as Ginger’s mother and Alessandro Nivola as her father and Annette Bening, involved in the protest movement. Oliver Platt plays a friend, partner of Timothy Spall.

While the two girls support each other, Rosa is not as politically involved as Ginger, and when the girls accept an invitation to go on Ginger’s father’s boat, the rather promiscuous university lecturer begins an affair with Rosa, she becoming pregnant, which serves as a catalyst for Ginger to reconsider her life, becoming more involved with protest, finding herself arrested, her mental condition tested. At the end, Ginger who wants to be a writer, composes a poem which reaches out to Rosa and offer some kind of forgiveness.

1. The title, the focus on the two girls? Girls growing up, teenagers, friendship, changes in situation, betrayal?

2. The director, her serious dramas? The two girls, an American actress, Australian actress? Convincing?

3. The opening, 1945, the war, London, the two mothers, giving birth, reaching out, continued friendship? The births? Fathers? Rosa’s father disappearing? The girls and their bonding, the scenes of themselves as children, getting older?

4. Teenagers, from 1945 to 1962? The experience of post-war Britain, rations, hardships? The change in the 1960s? Post-austerity? On the move towards a greater permissiveness?

5. Each of the two girls: Ginger, dominant, her personality, her hair, clever, at school? Rosa, the different school, difficulties with studies? The anti-nuclear protests and meetings?

6. Rosa, touch of promiscuity, the boys? Nat and her disapproval, warning Ginger? The contrast with the advice from Roland? Supporting the friendship? Roland, at home, the professor, studies, infidelities? Nat and her bringing up Ginger? Sacrificing herself?

7. Rosa, her mother, the Catholic background, going to the church to pray? Rosa moving out and becoming free?

8. Ginger, relationship with her mother, her mother and concern about domestic courses, expecting Ginger to be a housewife? The effect of Ginger, her moving out? Her going to stay with her father?

9. Ginger and Rosa on the boat with Roland? Rosa beginning the relationship? Believing in everlasting love? The effect on Ginger, wanting to move out, but her mother beginning to paint again?

10. Ginger warning Rosa about Roland’s infidelity? The pregnancy?

11. Ginger, the effect, going to the rally, the protests, the causes? The arrest? In prison? The psychologist? her mental state? The fear that the world was about to end? Roland and his comments? Bella, her interactions with Ginger, advice?

12. The two Marks, characters, friendships, advice?

13. Confronting Roland, Nat and her taking the overdose, going to hospital, the concern?

14. Ginger, the final problem, for Rosa, acknowledging the difficulties, but hope the future – and possibilities for forgiveness?