LITTLE BLACK BOOK

US, 2004, 111 minutes, Colour.
Brittany Murphy, Holly Hunter, Ron Livingston, Rashida Jones, Julianne Nicholson, Stephen Tobolowsky, Kathy Bates, Carly Simon.
Directed by Nick Hurran.

Little Black Book is a star vehicle for Brittany Murphy after she had appeared to success in films like Clueless. Unfortunately, her career was cut short by her untimely death.

But, it is the veteran Oscar-winners who make a big impact in this film, especially Holly Hunter as a seemingly charming and cooperative co-producer whose ruthless ambitions are unmasked at the end, a very interesting and subtle performance. Kathy Bates is the on-screen personality on a very rough reality show.

Brittany Murphy plays Stacey who has an ambition to work with TV anchor, Diane Sawyer. She has a moody mother who solves all problems by listening to songs by Carly Simon. Stacey has walked away from Mr Right, hoping for something better, moving in with sports entrepreneur, Ron Livingston, and getting a job at the reality TV channel. When she discovers photos and phone calls to former girlfriends, she becomes suspicious, wanting to find out the truth, and egged on by the seemingly supportive co-producer.

She meets a former model whom she does not like, a self-centred gynaecologist, and a chef whom she really does like.Through the co-producer’s manipulation, she finds herself on live camera with the 3 other girlfriends and the boyfriend also turning up on set – a triumph and a masterpiece for the co-producer, an opportunity for Stacey to come clean and go for an interview to work with Diane Sawyer, and for the chef to be reunited with the boyfriend.

Light, yet plenty of satire, touches of romance were plenty of Carly Simon songs throughout – and Carly Simon herself coming in at the end.

1. A romantic comedy with differences?

2. The title, men and their little black books, Derek and his book, the title for the reality show on television? The repercussions?

3. The American cities, scenes in traffic, homes, television studios…? The musical score?

4. Stacey in the traffic, the flashback to being with her mother, her mother listening to Carly Simon songs to become calm again, Stacey listening to them?

5. Her dream of working with Diane Sawyer? Diane Sawyer and her popularity, audience awareness of this?

6. Stacey at College, the relationship, the possibility of relating to Mr Right, giving him up – and later encountering him, Stacey acknowledging her mistake, but seeing his pregnant wife?

7. Derek, the relationship, sharing the apartment with him?

8. Stacey, going to a new job, the television show, the studio, behind the scenes? Barbara as producer, friending her, supporting her? The strength of the friendship? Their sharing? Barbara urging Stacey on?

9. Kathy Bates as Kippie Kann, personality, and manner on-screen, revelations, the dominance, getting the audience on side and their responses? Her producer, the clashes, dealing with the crew, going to staff meetings? Meeting Ira, offhand with him? Favouring Stacey?

10. Derek, sports promotion, his being away? The interview with the model, the story about her vomiting after sex? Stacey listening, Barbara and her idea, getting in contact with the model, setting up the interview, getting the information, discovering Rachel and Joyce?

11. Rachel, the issue of the wart, the appointment, her being a gynaecologist and the effect of the visit on Stacey? Her book, her marketing her medical discoveries? Invited for the interview? Stacey thinking that Rachel was self-centred?

12. Going to Joyce, the photos on the iPad, Stacey and her anger, destroying the pad, the phone? Contacting Joyce, Joyce the chef, the discussions, Stacey’s pretense but their becoming friends?

13. Derek, his continued phone calls? The revelation about the truth and Joyce’s brother and his being signed up?

14. The effect on Stacey, Barbara visiting, talking, fostering her hopes?

15. Stacey going to set, live? Each of the women arriving? Kippie Kann and her questions, moralising? The revelations and the effect on each?

16. The fact that Barbara had contrived everything? Setting everyone up, leading Stacey on? considering this her masterpiece?

17. Derek, arriving, on the live set, bewildered?

18. Stacey, the learning experience, the disillusionment with Barbara? Derek and his realisation of his love for Joyce? The audience on Joyce’s side?

19. Stacey going for the new job, going for the interview, her being accepted, the fulfilment of a dream – and Carly Simon arriving, her mother ringing and fainting, the film
ending with the pleasant fulfilment dream and Carly Simon and her singing?

AMERICAN PIE 2

US, 2001, 108 minutes, Colour.
Jason Biggs, Chris Klein, Alyson Hannigan, Shannon Elizabeth, Tara Reid, Eddie Kaye Thomas, Seann William Scott, Eugene Levy, Natasha Lyonne, Mena Suvari, Jennifer Coolidge, Chris Owen.
Directed by J. B. Rogers.

The basic review is: more of the same.

Response to the film will depend on the response to the initial film, the sexual preoccupation of adolescents, wanting to lose virginity, the focus on sex rather than relationships and some of them learning that there is more to sex and possible discovery of love. Many enjoyed the first film and it was a box office success – and so was the second. There was also a third and, 10 years later, a reunion film.

The film opens with all the characters at the end of their first year at college, some reminiscing about relationships, others over-enhancing their sexual prowess during the year. Oz and Heather are seen to be having a phone relationship from their different colleges, wanting some intimacy but people like Stiffler listening in and intruding. Vicki returns, still being advised by Jessica,, encountering Kevin, awkwardness between them, both exaggerating what has happened during the year. Finch still has memories of his encounter with Stiffler’s mother – Stiffler still being hostile – and the combination of the film is Stiffler’s mother turning up again and going of into a tent with Finch.

As regards the central character, Jim, he is still being caught in flagrant a by his mother and father, his father having plenty of advice. He seeks out Michelle again for some advice and gets him into the main comic situation of the film, a tangle with a band and its performance, the conductor thinking he is a guest trumpeter. Nadia also gets in touch with him, trying to set up a rendezvous – but is easily distracted to someone else.

If anyone really dislikes Stiffler, they will be glad that he gets abundantly pissed on.

So, the title is not inaccurate, it is very much American Pie revisited, American Pie 2.

BLONDIE JOHNSON

US, 1933, 68 minutes, Black and white.
Joan Blondell, Chester Morris, Allen Jenkins, Sterling Holloway.
Directed by Ray Enright.

Blondie Johnson is an above-average brief Depression-era program filler from the 1930s.

The film was directed by Ray Enright, a veteran of many of these brief films in the 1930s, continuing on in a whole range of genres, especially westerns, to the 1950s.

The film captures the atmosphere of the Depression, especially in the opening, where Blondie, effectively played by Joan Blondell, goes to seek assistance from an agency because of the family being ousted from their lodgings and her mother being sick. She offers a picture of pathos but the official reminds her that there are many others worse off than she – and the camera pans around the forlorn people in the office. When she returns home, her mother has died.

Blondie’s motivation is very strong now, to get money at all costs. She goes to the city, encounters a friendly taxi driver played by Sterling Holloway and sets up a scam whereby she looks forlorn on the street, and men offer her money and she repeats the process until she happens to be caught by a mini-gangster, gum-chewing Chester Morris. She teams up with him, no romantic connections, and helps him to humiliate the overall boss, especially by putting on a performance as a sobbing wife in a court case where Allen Jenkins, accused of killing someone, is freed.

Blondie continues with her exploits, targeting the boss, upset when Chester Morris seems to have another girlfriend, There is also a set-up where there is a shooting.

The audience will be expecting Blondie to get away, so sympathetic is Joan Blondell, but just as the strictness of the Production Code was being introduced, the two caught, admitting their guilt, and making resolutions for a better life after serving their sentence.

FREE WILLY 2: THE ADVENTURE HOME

US, 1995, 95 minutes, Colour.
Jesse James Richter, Francis Capra, Mary Kate Schellhardt, August Schellenberg, Michael Madsen, Jayne Atkinson, Mykelti Williamson, Elizabeth Peña, John Tenney, M. Emmett Walsh, John Considine.
Directed by Dwight Little.

While the surprise and freshness of the original can't be repeated, this sequel is very enjoyable. And it repeats the first story, more or less, in different guise. Jason James Richter has grown quite a bit and has settled with his foster parents. On to the scene comes an unexpected little brother who repeats the difficulties of a youngster hostile to everyone who finds affirmation in helping the whales.

And Willy is back - with his family. There are some very happy sequences of riding the whales. And there are some dangers as a giant oil spill threatens to ruin the cove and to trap the whales - as well as some greedy entrepreneurs who want to capture Willy.

As before, the location photography and the extraordinary `animatronic' whales are impressive.

Entertaining family action.

1. The impact of the first film, the characters, the young boy, the whales and their plight, the rescue?

2. Two years later, the boy getting older, his adoptive family, the unexpected discovery of a younger brother? The whales, at sea, their exploitation, the rescue?

3. Locations, the sea and its beauty, the venue for action and adventure? The score?

4. Jesse, his age, family, their care of him, his eye for the girls, his resentment of his mother abandoning him, the discovery that he had a brother, his arrival, hostility? On
holidays? Finding Willy and his family?

5. The adoptive parents, good people, their care for Jesse, talks with him? Elvis turning up, his age, talking, lies? Going on holiday? Meeting Randolph again, his work, Nadine
helping him, the whales, swimming with the whales? Elvis and his interest in the whales?

6. The oil slick, the whales being trapped, Milner, his company, his offer, the revealing of the truth and his wanting to exploit the whales and send them for exhibitions?

7. Randolph, the cure of the whale? The boys on the boat, the ability to lead the whales, the whales swimming under the burning oil, the children stranded, the search, the helicopter?

8. Jesse and his fall, riding Willy? Again under the burning water?

9. Elvis, the photo of their mother, telling Jesse that his mother regretted leaving him? The necklace, prayer – and the happy ending?

BELLE AND SEBASTIEN, THE ADVENTURE CONTINUES…

France, 2015, 97 minutes, Colour.
Felix Bossuet, Tcheky Karyo, Thierry Neuvic,
Directed by Christian Duguay.

For audiences who enjoyed the original Belle and Sebastien, this sequel, the continuance of the adventure, will be very welcome. Characters are back, the young boy, Sebastien, his adoptive grandfather, Cesar, and, of course, the huge and affable dog, Belle.

This time the setting is after World War II in the Rhone- Alps area of France near the Italian border. Those who appreciate beautiful scenery, will find a great deal of satisfaction here, the sweep of the mountains, the crags, the beautiful green fields, the country village.and, as the mood changes and the plot develops, there is a transition from a piano accompaniment to in an intense repetitive orchestral urgency.

Sebastien is now ten and avoids going to school, preferring to slide down a mountainside on a home-made sled, more than a touch reckless and saved from the great fall by Belle. In the meantime, Cesar’s niece who has been fighting in the resistance during the war is returning home on an American plane which crashes into the mountainous forest. Everyone is presumed dead – except by Sebastien and Cesar.

Most of the film concerns the search, the old man going to a local pilot, Pierre, and paying him to fly over the crash site – with, of course, Sebastien and Belle’s stowing away, rather disastrous since Pierre has an antipathy towards dogs. Again, almost disaster, with Sebastien reckless again, stubborn and wilful.

Before they go to ask Pierre to fly over the site, Cesar explains to Sebastien that Pierre is his father – they think that Pierre abandoned Sebastien’s mother, but there is more explanation as the film goes on.

As they go through the forest, they encounter a young girl taking refuge up a tree from a grizzly bear, an Italian girl who belongs to a group of lumberjacks working in the forest but prevented from working by the forest fire set by the crashing plane. She becomes an ally in the search.

There is some peril with the fire, but Belle going in to find the cave with orange smoke coming, a flare signalling survival. And, continuing the peril, their continued dangers from fire as well as escaping suffocating smoke in the cave.

Apart from the film being a physical journey adventure, it is an emotional adventure for Sebastien as he clashes with his father, begins to work with him, and discovers that he really needs a strong father figure.

Very French, but a family film that does not rely on more obvious emotions and excitement that we tend to associate with more upfront American family films.

1. The first film and its popularity? Audiences response to Sebastien, the young boy? The response to Belle, the dog in the Alps, big, white, affectionate? Memories of Cesar, of Angelina? The atmosphere of the war? Life in the Alps?

2. The sequel returning, Belle and Sebastien, Angelina in the plane then lost? Cesar and the search for Angelina quality? Developing the characters in an adventure?

3. The mountain scenery, the village, the forests? The beauty, the visuals, aerial views, the forest fire, the refugee camp, the sequences and action of the rescue? The musical score?

4. 1945, September, the aftermath of the war? The background of the Resistance? Of POWs and the camps? Angelina coming home in the American plane, the gift for Sebastien? The panic, the crash? The background stories of the Germans, the French, and relationships with the Germans and Italians?

5. Sebastien not at school? Going down the mountain on the cart, through the sheaves, almost over the cliff, Belle saving him? The authorities and their exasperation at his missing school?

6. Cesar and Sebastien, preparing for Angelina’s return? Their waiting on the road, the flight and the crash, the authorities coming to give them the news? Sadness?

7. The wreck, the visuals, the forest fire?

8. Cesar, his referring to Pierre as you-know-who? The medal with his name on it? The gift to Sebastien? Sebastien and the story of his mother, her wandering the snow, her death in giving birth, Cesar adopting Sebastien?

9. Going to Pierre, his plane, the bargain, the cash payment, Sebastien and Belle stowing away, the flight, the orange smoke from the flare, Sebastien attacking Pierre, reckless, Pierre not liking dogs, the crash?

10. Sebastien as wilful, reckless, the consequences?

11. Sebastien and Belle wandering off, going in search for Angelina? Pirrre trying to make radio contact? Louis, Pierre’s mechanic, with Cesar, some forcing him to come on the search, the walk? The wheel coming off, finding it again, and able to fix the plane? Pierre deciding to follow Sebastien? Finding him, the cigarette lighter and the fire, the mushrooms and eating? Continuing the search?

12. The trek, the grandeur, Sebastien and his compass? The range of the terrain?

13. The grizzly bear, Gabrielle in the tree, Belle’s intervention, the bear going off, saving Gabrielle? Gabrielle taking them to the camp, the lumberjacks, the work, their discovering that she was a girl? The refugees from the war? The fire preventing the work? Everybody’s opinion that Angelina had died? The continued search, the dangers, the fire, Belle and her sniffing the scarf, going into the fire area? Pierre locking Sebastien in the vehicle?

14. The night, Pierre and the true story of his relationship with Lisa, the Gypsies, the Gypsies moving camp, his search?

15. Sebastien leaving, going with Gabrielle, on the raft, landing, the intensity of the fire, their being trapped? Pierre coming, the dynamite and clearing the way through?

16. Going to the cave, having the rope, the torch, the darkness of the cave, down the cliff, seeing Angelina, Sebastien going down, Pierre and Gabrielle pulling them up? The fire, the smoke, the chimney and the danger in getting out? Just in time – but Pierre seemingly caught by the smoke?

17. The rescue, Gabrielle and her father, Pierre fixing the plane? Cesar and Louis finally arriving and seeing the plane flying over? Comic touch it with Louis, hungry, foot sore?

18. Angelina returning home, the mayor and his arrival, Cesar finding Angelina at the clothesline? Sebastien, Pierre and the visit to Lisa’s grave? The bond?

19. A satisfying entertainment for younger audiences and for families?

LES CHORISTES/THE CHORUS

France, 2004, 96 minutes, Colour.
Gerard Jugnot, François Berleand, Jean- Baptiste Maunier, Jacques Perrin, Marie Bunel.
Directed by Christophe Barratier.

To sir with music.

One of the most popular films at the French box-office in many years followed by BAFTA and Oscar nominations for Best Foreign Language film. It would be hard not to enjoy it and applaud a story of a dedicated teacher who improves the quality of life for his problem students. But it is both sweeter and tougher than the usual rebel class/heroic teacher movie.

Director Christophe Barratier was a child musician himself and felt the need to express something in his film about his own life and disappointment at not being a musician. However, he has paid tribute to music, especially choral music, and the beauty and clarity of young voices. He had been impressed by a 1945 French film, The Cage of Nightingales, directed by Jacques Dreville and starring Noel Noel, and thought it would be the vehicle to rewrite to bring his school and chorus to life. He has relocated the film to 1949 when the French government was trying to improve its understanding of children and their problems, introducing psychological profiling. (To have updated it to the present would have made too difficult demands to dramatise contemporary urban problems with modern music and song; Barratier said he could focus on the music more carefully by staying in the past.)

The film opens with a successful conductor visited by an old schoolfriend with a diary of the teacher who taught them to sing. He reads the diary and it comes to life. The school is one of those old French Dickensian institutions, run by a disappointed teacher who takes out his frustrations in biting language and cruel punishment of his boys (who are problem children, sons of single mothers, boys with criminal tendencies and war orphans). There are grim scenes in the refectory, the dormitory, the classroom. And most of the action takes place in winter.

Matthieu Clement (a middle-aged, balding, chubby failed musician, Gerard Jugnot) takes up a job as a supervisor at this school, trying to follow the rules of the principal, acting as a disciplinarian with the boys. However, he allows his natural kindness to emerge and discovers that many of the boys can sing. Gradually and happily, he forms the choir and builds it to concert pitch. The sweetness includes the music itself, the troubled boy who has an angelic voice and a little orphan for whom Matthieu becomes a father-figure.

The toughness (which led the British censor to give the film a 12A certificate where children under 12 can see the film only if they are accompanied by an adult) includes a few swear words, some boyish crudities and an allusion to the possibilities of sexual abuse – a touch of realism in a school where the boys were difficult and the treatment harsh.

The music is attractive. The screen presence and singing voice of young Jean Baptiste Maunier, the performances of the adults moving and the inspirational tone of the film make it satisfying and intelligent entertainment.

1. The popularity of the film? Awards? Oscar nomination? Choirs, boys choirs, the range of music?

2. French sensibility, the director and his musical background? The range of music?

3. The 1949 setting, post-war, institutions for boys, authoritarianism, the name of the institution, Fond Letting (), discipline, the boys, homeless, single parents? Mischief, life in the institution? The boys’ talents and the response to kindliness and exercise of talent?

4. The 1999 framework, the conductor returning to the school, meeting his friend, the reminiscences, the diary?

5. Rashid, his personality, relationship with his staff, his severity, the boys and discipline, punishment, reactions?

6. Matthieu, his arrival at the institution, as a person, his talent, music, choir, relationship with the staff, the boys, resistance, but response, their making up rude songs about him? The caretaker, the injury, his shielding the boy, getting to take care of the caretaker?

7. Morehange, the actor and his singing talent, his age, personality, background, relationship with his single mother, refusing to sing, discovered singing by himself, his response, leading the choir, his achievement? And the framework with his success as a conductor?

8. Rashid and the clashes with Mondain, the beatings, running away, the stealing of the cash, discovering that it was another boy, the setting fire to the institution? Mattheieu and his helping to put out the fire?

9. Rashid, moments of relenting, playing football, but his reaction to the various incidents? Blaming Matthieu?

10. Morehange’s mother, the attraction by Matthieu, her relationship with the engineer?

11. The goodbye, Matthieu going, the boy running after the bus, Matthieu will

ALL THE WAY

US, 2016, 137 minutes, Colour.
Bryan Cranston, Melissa Leo, Frank Langella, Anthony Mackie, Bradley Whitford, Stephen Root, Ray Wise, Joe Morton.
Directed by Jay Roach.

It is surprising that there has not been a feature film about President Lyndon B. Johnson – after all, Oliver Stone had made JFK, Nixon, W. While there was drama in his life, it was not quite as colourful as that of the other presidents. His rise to power was fate rather than destiny.

The lacuna has now been filled by HBO television with a very effective drama directed by Jay Roach, who had moved from comedies like those of Austin Powers and the Meet the Parents series to political dramas like Recount, the story of the 2000 election and the recount in Florida, Game Change, the picture of Sarah Pailin and the presidential campaign of 2008 as well as the drama about celebrated screenwriter, Trumbo.

This is blessed with an excellent portrayal of Lyndon Johnson by Bryan Cranston, so welI-known from the US television series, Breaking Bad, and who also portrayed Dalton Trumbo. The supporting cast is very strong with Melissa Leo, a very versatile actress, often in very strong and demanding roles, as Lady Bird Johnson, and Frank Langella is the veteran politician Dick Russell who acted as a mentor to Johnson but who disagreed with him about Civil Rights legislation.

Anthony Mackie appears as Martin Luther King, seen in his contact with Johnson, phone calls, political arguments, support, despite some reactions from the more active younger generation of black activists. This is particularly true of the episode in Mississippi where volunteers when down to Mississippi to campaign for the vote for Blacks and three were murdered.

The film opens, of course, with the death of JFK and Lyndon Johnson taking the oath of office, pondering the Oval Office, getting support from his wife and from Dick Russell. Johnson seemed to support the Civil Rights movement of 1963 and JFK’s planned legislation, pushing it through, with strong opposition from the Democrats from the South, even a filibuster of over two months in Congress. Gradually, he got his way.

The film also features J. Edgar Hoover and his advice to presidents and his hostility to Martin Luther King.

Most of the film is concerned with the campaign for the presidency of 1964, with Barry Goldwater as his Republican opponent. It is difficult to go back to the era and see the hostility from the southern Democrats, governors of Alabama and Mississippi even walking out of the July convention. While Johnson was sometimes prone to doubt, even physically overcome by it, in his politicking he was very strong, very demanding, cutting off telephone calls when he finished what he wanted to say, while making speeches which were ultimately successful.

Robert Mc Namara is present as Secretary of Defense and the early years of the Vietnam war with confrontations in the Golf of Tongan and the meaning of Johnson slogan, All The Way, in following him and allies into the Vietnam war.

A very interesting contribution to picturing an understanding the 1960s in American politics.

1. The title? Lyndon Johnson slogan? Its status in the 60s? All the way with Johnson for civil rights? American involvement in Vietnam?

2. The work of the director? His early comedies and spoofs? The transition to American politics? His strong cast?

3. Interest in films on American presidents but not Lyndon Johnson? This opportunity, Johnson as a person, his character, principles, politically?

4. The situation in the 1960s? November 22, 1963, the assassination of JFK, the scenes in Dallas, the blood on the seat of the car? Johnson and his presence on the plane, taking the presidential oath? Jackie Kennedy and her grief? His return to Washington? The support of his wife? Going into the Oval Office, contemplation? His role in history – fate rather than destiny?

5. United States in 1963, politics, the President, the clash with Cuba, with the Soviet Union? The importance of the civil rights movement? Kennedy and Martin Luther King? Johnson inheriting the task?

6. Bryan Cranston and his performance as Johnson, the skill of the impersonation, the revelation of character? Age, Texas background, his relationship with Lady Bird – affectionate but often brusque? His daughters, having wanted a son? His reputation, his early hard life, his wife financing his campaigns, success, involvement in politics, chosen by Kennedy as his running mate? Sharing his perspective? The role of the Democratic party in the 1960s?

7. The significance of the character of Dick Russell, bold, Johnson seeing him as an uncle, mentor? His hard-line, race attitudes? His ideas on legislation? His Conservative group of Democrats? Their planning, the pressure on Johnson? In the Congress, the monster filibuster? Russell and his continued contact with Johnson, conceding, congratulating him on the election?

8. The American south of the time, the roles of the Democrats, Gov Wallace in Alabama? The governor of Mississippi? Their walking out of the 1964 Convention? The phone call to the governor of Georgia?

9. Johnson, on taking the presidency, the year before elections? The campaigns of 1964? Barry Goldwater and the Republicans? The struggle, the attitudes of the South, the Convention? Johnson handling people? His being strong, robust and even rough? Demanding on people? On his wife? And yet his physical condition, his previous heart attack, taking to his bed, touches of desperation?

10. Martin Luther King, 1963, his speech? His presence supporting Johnson, with his wife? The discussions and phone calls with Johnson? Johnson shrewd, talking on the phone as much as he wanted then hanging up? Issues of civil rights legislation, the issue of African- American voting or not? King’s personal life, the criticisms, his liaisons, Johnson tolerant of these? Hoover and the FBI, the antipathy towards King? The black discussions, Abernathy and the other leaders, the younger more revolutionary types? Politics and principles? Opportunities? Trusting in Johnson? The volunteers in Mississippi, their being murdered? The discussions, King’s visit, the speaker in protest at the funeral? The passing of the laws? King receiving the Nobel peace prize? His subsequent history? Walter, Johnson relying on him for so many years, efficient, warding off attacks, his family and six children, the shock of his arrest, Lady Bird’s reaction, Johnson seeing it as a betrayal?

11. The role of Hubert Humphrey, as a character in himself, Democrat, loyal, hard work, the butt of Johnson’s remarks? His staying? Policies, decisions, tactics? His being named as vice president and the effect on him? In view of his subsequent failure in 1968?

12. The themes of Vietnam, 1964, Robert Mc Namara, the Gulf of Tonkin, American involvement, troops, the war and the consequences for Johnson?

13. Hoover, his long history, the FBI? In himself, his prejudices, his advice to presidents, the taping of the black discussions and King? His reaction to the Nobel prize? His discussions with Johnson, Johnson and his abrupt dealing with Hoover, getting him to take responsibility?

14. The campaign, the speeches, the phone call to the Georgia governor, persuading him? His going to the Democrats, his speech about civil rights, the appeal, Johnson at his best when strong?

15. The clips of Barry Goldwater?

16. Lady Bird, her character, her patience with her husband, always supporting, a brave face, her thoughts in her own right? His philandering – and her comment that he always came home to her?

17. Lyndon Johnson winning, President? The experience, the party, talking with Dick Russell, his joy?

18. The aftermath, not continuing for the presidency, illness, death? His legacy?

DUNE

US, 1984, 132 minutes, Colour.
Francesca Annis, Leonardo Cimino, Brad Dourif, Jose Ferrer. Linda Hunt, Freddie Jones, Richard Jordan, Kyle Mac Lachlan, Virginia Madsen, Silvana Mangano, Everett Mc Gill, Kenneth Mac Millan, Jack Nance, Sian Phillips, Jurgen Prochnow, Sean Young, Alicia Witt, Sting.
Directed by David Lynch.
Dune was a spectacular science fiction, futuristic film of 1984. It was remade as a miniseries in 2000.It is adapted from a celebrated novel by Frank Herbert, the adaptation being done by the director, David Lynch.

This was a surprising venture for David Lynch who had made the experimental Eraserhead as well as The Elephant Man. he was soon to make Blue Velvet, Wild at Heart, The Straight Story – and was to make a number of short films and more mysterious, dreamlike films like Mulholland Drive and Lost Highway.

The film was not well received at the time though it had a solid fan base. It had some spectacular effects for the time (seven years after the first Star Wars film). The strange creatures were particularly notable. It also had a striking score and theme.There was also a great deal of unusual make up and design.

The film is set in the galaxies almost 10,000 years hence, several planets having rival families, a planet for the Emperor, and a planet where a particular spice was found and exploited for all kinds of human uses.

The international cast is also very strong with Kyle Mac Lachlan as the Messiah -like Paul Atreides. He was to be a strong member of David Lynch’s Twin Peaks films and television series.

1. The work of Frank Herbert? Science fiction? Futuristic fiction? Popularity in the 70s and 80s? The ideas, vision? Dune as a film of the 1980s?

2. David Lynch, his career, his particular styles? His adaptation of the novel? Technical atmosphere, the future, space, planets, the interiors and exteriors, the special effects in space, the staging of the battles? The different kingdoms, vehicles? The creation of the creatures? Costumes, decor, make up? The musical score and themes?

3. The far distant future, the different universe, the major planets, the not focusing on earth, the initial listing of the planets, the Emperor, Atreides family, the Harkonnens? Dune, the spice? The diagrams?

4. The introduction from the Princess, explanations? The planets, the spice, the role of the spice and its effect? Travelling, the folding of space?

5. The Emperor, his power, his court, his daughter? The plans and recommendations? The witch in attendance? The arrival of the creature, the confrontation, mouth, eye? The plans about Dune? Setting the two houses against each other? Betrayal and conflict? The games? The Emperor’s agreement?

6. The family of Atreides? Paul, the talk of a Messiah? His youth? The role of his father, ruling? His mother and her care? Seeing him at work? The three approaching? The Warrior advisor and the fight in the cubes? The old sage, his look, eyebrows, advice? The doctor and his role?

7. The Harkkonnens, the Baron and his disfigured face, holding court, his power, the nature of advice from the key advisor? His need for blood, the victim and his aggression? His nephew and his associate? The plans for the Harkonnens? And the Baron floating?

8. The visit to the Emperor, the plan, the presence of the advisor witch? Deaths and aggression? The Baron?

9. Duncan, his friendship with Paul? The advance group going to Dune? The family travelling to the planet? The search for the inhabitants? Underground? The growing numbers, the possibility for them to be allies? Their appearance, their blue eyes and the effect of the spice? The doctor and his advice? The dwarf woman and her reaching out, at the confrontation and her death? The child and prophecy? The support for Paul? The doctor revealed as a traitor?

10. The Allies, the visualising of the battles? The buildup to the conflict between Paul and the Baron’s nephew? The house of Atreides saved, the parents saved?

11. The mining of the spice, the terrain of Dune, the presence of the creatures, their size, appearance, threats? The approach? Destruction?

12. The threat to the Empire, the role of the Harkonnens, the ascendancy of the house Atreides? Peace in the universe?

AMERICAN PIE

US, 1999, 95 minutes, Colour.
Jason Biggs, Chris Klein, Alyson Hannigan, Shannon Elizabeth, Tara Reid, Eddie Kaye Thomas, Seann William Scott, Eugene Levy, Natasha Lyonne, Mena Suvari, Jennifer Coolidge, Chris Owen.
Directed by Paul Weitz.

American Pie has become something of a classic comedy.It marks something of a watershed in teenage comedies and their playing with and exploring of sex themes and the loss of virginity. It struck a chord at the end of the 1990s, especially with younger audiences, and it led to 2 sequels as well as a reunion film a decade later.

The film focuses on a group of teenagers in the last year at high school, a group of young men, a group of young women. The young men are preoccupied with sex, with virginity, with losing their virginity before they end high school, with the prom and the prom night seeming an opportunity for this to happen – and their making a pact that it will happen. The reactions of the girls are mixed. one girl, Jessica, Natasha Lyonne, the open-minded about it all and giving advice to her friend, Vicki, Tara Reid, who wants to have loving sex with Kevin, Ian Thomas Nicholas. There is a nice quiet girl, Heather, Mena Suvari, who attracts the attention of Oz, Chris Klein, who joined the choir to find girls, but enjoys the singing and begins to fall in love with Heather. There is also the superior Finch, Eddie Kaye Thomas, who pays for stories to be spread about him but has no luck with women – but is subjected to a very humiliating diarrhoea sequence. He finishes up with Stiffler’s mother.

The star of the film is Jason Biggs, Jim, seen initially trying to masturbate to video pornography. later, he will have the famous masturbation in an apple pie sequence. In some ways he is gawky, very awkward with girls, especially Nadia (Shannon Elizabeth) at a party, though later he will be involved with her, her coming to his home allegedly to study, the setting up a video camera with all his friends watching and her sexual behaviour as well as her asking him to do a striptease. After his failure, he encounters Michelle, Alyson Hannigan, the leader of a band who is famous for her way of speaking, always upward inflections and beginning stories, “one time…”.

There are a few scenes of classes. There are La Crosse matches. And there are parties, especially hosted by, Stiffler, Seann William Scott, whose mother is portrayed famously by Jennifer Coolidge, though she does not appear until the almost end of the film.
Many of the scenes are played for laughs, the best being those between Jim and his father, Eugene Levy, always trying to be helpful in educating his son, but somewhat self-conscious about it.

At the end of the 90s, while this film seemed to be rather permissive, it also seemed very crass – although some reviewers remarked that the main characters had moved morally to the better by the end of the film – though perhaps slightly. In fact, it ends with the main characters all involved in sexual encounters, the boys losing their virginity, and some of the girls entering into the experience more vigourously than we might have anticipated.

In retrospect, the film seems more moral or ethical than a number of the teen comedies of succeeding decades like, for example, those with from like Awkward moment, the Bad Neighbours films and Dirty Grandpa…

THE PERFECT GUY

US, 2015, 100 minutes, Colour.
Sanaa Latham, Michael Ealy, Morris Chestnut, Charles S. Dutton, Tess Harper, Holt Mc Callanny.
Directed by David M. Rosenthal.

For about thirty minutes, this looks like a romantic comedy for an African- American audience. Everything seems to be perfect.Sanaa Latham plays a woman in her mid-30s, in a loving relationship with her boyfriend, David, Morris Chestnut. While he is good with children, he is not ready for any while Leah fears that she will not have children. They separate. in the meantime, a charming man, Carter, Michael Ealy, has been helpful to Leah twice and they exchange cards. Romance is inevitable and she takes Carter to meet her parents, he charming the father with having best tickets to the baseball game.

The audience might be wondering how this romance can be spun out for 90 minutes. the plot changes on the way back from the parents’ house, Carter erupting violently and bashing a man whom he sees talking to Leah.

What follows is a variation on Fatal Attraction, Carter becoming a stalker, menacing Leah even despite having a restraining order against him. David reunites with Leah – but, the neighbouring lady is killed by Carter, he sends out a video of bedroom activity on Leah’s email, he tampers with the wheel of David’s car…

Inevitably, guns are introduced and, as expected, there is confrontation between Leah and Carter which Leah will win. The ending is grim in so far as Leah has lost everything and will have to start again.

1. Title? The first 30 minutes? Perfect and charming? The angry corruption? The change in tone? A variation on Fatal Attraction?

2. The American city, workplaces, homes, restaurants, service stations? Musical score?

3. Leah and David and their relationship, her important work, the visit and Leah seeing David with the little boy, who wanted children, his not being ready, but not ready to propose? A decision to break the relationship?

4. Carter, his courtesy with the coffee? The later encounter, Leah at the bar, his confrontation with the intrusive man? Exchange of cards? His explanation of being adopted? Charm, the growth of the relationship, Leah falling in love? Going to see her parents? Roger and his hesitation, the tickets to the baseball game, his enjoyment, exhilaration, the meal, the parents seeing Leah kissing Carter? Hopes?

5. The incident at the garage, the man wanting to take a photo, Carter and his eruption, his brutality? The effect on Leah, uncomfortable? Breaking with him? His attempts to contact her? The meal, angry again? Carter, his true character revealed, his background in the police investigation, in trouble? Harassment? His following Leah, intruding? Her getting the restraining order? His disobeying it, the confrontation with David in the restaurant?

6. The detective, Leah presenting the situation, his advice, the restraining order, taking in Carter, Carter and his nonchalance?

7. Leah, the call from David, reuniting, his change of heart? The dinner, his confrontation with Carter?

8. The neighbouring lady, observing, attitude toured to Leah? Carter’s return, confronting him, his chasing her, the knocking at the door, entering the house, pushing her down the steps?

9. Intruding into Leah’s computer? Setting up the camera, photographing Leah and David in the bedroom? Sending out the video? Leah’s bosses and their suspending her?

10. Carter, the restraining order, the attitude of his bosses?

11. His tampering with Davids car, David driving, the wheel coming off, the crash, Carter confronting and killing him, taking the watch, Leah’s gift? His leaving it in Leah’s room?

12. Leah, following Carter, finding his place, the graffiti on the wall, smashing his machines? His violent reaction?

13. His having a key, entering the house? Leah, the story from the detective, getting the gun, the warning shots then the real bullets? Carter and his violence in fighting with Leah, her getting the gun, his death?

14. Leah and all she went through – and having to make a new beginning?