HOLD YOUR MAN

US, 1933, 87 minutes, Black and white.
Jean Harlow, Clark Gable, Stuart Irwin, Dorothy Burgess, Gary Owen, Elizabeth Patterson.
Directed by Sam Wood.

Hold Your Man is one of many star vehicles for Jean Harlow during her short time at MGM as the blonde bombshell, dead at age 26 in 1936.

She co-starred in a number of films, Red Dust, Wife vs Secretary, Saratoga, with Clark Gable who was emerging as MGM star – though he won his Oscar the next year for Happened One Night on loan to Columbia.

He plays a con man with a crooked smile, the audience seeing him do his cons on the street, taking refuge from the police in Jean Harlow’s apartment – and she in a bubble bath. (The screenplay was cowritten by Anita Loos, author of Gentlemen Prefer Blondes, who also wrote The Girl from Missouri for Harlow the next year). The two fall for each other but all is complicated by her relationship with a good patron, Al, Stuart Irwin, a dead body, and both of them going to jail – the complication being that Jean Harlow is pregnant. There are some effective scenes for her in the prison episode.

A lot of smart lines thanks to Anita Loos, the strong screen presence of the stars in a typical enough story from the 1930s.

1. Popular vehicle for Jean Harlow? Clark Gable? Together?

2. Black-and-white photography, New York settings, apartments, the streets, restaurants, prison? The musical score? The title song, the ballad and the style sung by Jean Harlow?

3. Title, the touch of comedy and irony?

4. The focus on Ed, the comments on his crooked smile? The conman, with his partner, Slim, the con in the street and the repercussions, the police? His hiding in Ruby’s apartment, in the bath, Ruby holding off the police? The attraction? His continued activity, the group and the plans, his driving the car, everything going wrong, the dead body, his going to prison? His reform? The continued love for Ruby?

5. Ruby, seeing her in the bubble bath, Jean Harlow’s screen presence, shielding Ed, going out with Al, her leading him on, yet his being led on willingly, financial support? Seeing Ed in the restaurant, going to the table, the introductions? The attraction to Ed? Meeting up with him? Yet Al always in the background with support and money?

6. The body, the accusations, arrest, the charge of manslaughter, her going to prison, the woman in charge, treatment of Ruby, interactions with people in the jail, the African -American woman and her preacher, Ruby discovering she was pregnant?

7. The character of Al, a nice man, attracted to Ruby, always supportive, no matter what?

8. Getting out of prison, meeting up with Ed, her pregnancy, the happy ending?

JOE DIRT: BEAUTIFUL LOSER

US , 2015, 104 minutes, Colour.
David Spade, Christopher Walken, Brittany Daniel, Dennis Miller, Adam Beach, Patrick Warburton.
Directed by Fred Wolf.

This is a comedy for completists. Many audiences enjoyed the original film but seem to be unanimous in not appreciating this sequel, although it was written by its star and director, David Spade and Fred Wolf. It went straight to website screening.

Joe Dirt was an ordinary character – with the touch of the Forest Gump, a mixture of innocence and naivete with a certain shrewdness. He is something of an embodiment of the less than average American.

In this film, he is married with children, has a job, has some friends and associates – but is the victim of fate and other people’s putting him down. The film has many comic touches, quite a number of them crude, as well as group pathos with Joe and his family.

When a tornado takes him back into the past, he has to relive his past, his quest for his wife, clashes with rivals, experiences with his father, testing his self-esteem so that he can arrive back and reconnect with his family.

There are small touches of irony as he goes through this journey, the audience knowing what was to happen to him and to others characters, especially the young woman to whom he is attracted who will be his wife.

In this way the film is a piece of average Americana, a picture of the underdog (sometimes deserved, sometimes not) who comes through all his ordeals.

THE GIRL FROM MISSOURI

US, 1934, 75 minutes, Black and white.
Jean Harlow, Lionel Barrymore, Franchot Tone, Patsy Kelly, Alan Mowbray, Nat Pendleton.
Directed by Sam Wood, Jack Conway.

The Girl from Missouri is one of many star vehicles for Jean Harlow at MGM during her short reign as the blonde bombshell and her untimely death in 1936, page 26.

The screenplay for this story was written by Anita Loos, the writer of Gentlemen Prefer Blondes – which is something of the undertone of this story. Jean Harlow portrays a young woman brought up by a slatternly mother, escaping from a club, making her way to New York with her tough friend, Kitty, Patsy Kelly. They are chorus girls – but Jean Harlow set herself on marrying a millionaire, first encountering Lewis Stone and becoming momentarily engaged before he kills himself.She becomes entangled with an ambitious millionaire, Lionel Barrymore, and by chance encounters his son to whom she is attracted, and he to her, Franchot Tone.

There are quite a lot of misunderstandings, some double dealings, the older man setting Jean Harlow up in a compromising set situation – and she reversing it on him.

Touches of the 1930 screwball comedy – and a millionaire happy ending.

1. Popular star vehicle for Jean Harlow? The prestige of Lionel Barrymore? Franchot Tone emerging?

2. Black-and-white photography, the American countryside, New York City, Theatre and the world of the wealthy, Florida, Palm Beach? The musical score?

3. Jean Harlow as Eadie? The Jean Harlow presence, look, blonde bombshell? A background in Missouri, upbringing, her mother, with stepfather running the club, morals? Wanting to get out? The escape with Kitty? Hopes for New York City? Virtuous preparation for marriage – and marrying a millionaire?

4. New York City, the work in the theatre, boarding with Kitty? The producer, getting the permission to go to the party, the dancing? The coming into Frank Cousins’ room? His gift of the jewels? Promising to marry her? His killing himself? The police, the interrogation? The presence of Paige?

5. Frank Cousins, debts, asking Paige for help? Paige getting revenge? Cousins killing himself?

6. Paige, poor beginnings, becoming wealthy, international job, arms conference, the dinner, his being celebrated? His relationship with his son, wanting to control him?

7. The son, the encounters with Eadie, playboy, the attraction? Eadie and her reactions, fobbing him off, not knowing the truth, yet falling in love?

8. The comedy with Kitty, her personality, supporting Eadie, Kitty attracted to all the different kinds of men, servants, lifesavers…?

9. Going to Florida, Eadie and Paige, his wanting to buy her off? The sun, the dates, the misunderstandings? His attraction, her attraction?

10. The father, his friends, Lord Douglas, the married man and his wanting Eadie? The father and the set up with the false lover, the photographer, headlines? The son’s reaction?

11. Eadie, her plan, the compromise for the father, the headlines?

12. Punchy situations, dialogue, the double crosses, the romance?

MIAMI VICE

US, 2006, 134 minutes, Colour.
Colin Farrell, Jamie Foxx, Gong Li, Noemi Harris, Ciaran Hinds, Barry Shabaka Henley, Luis Tosar, John Ortiz, Eddie Marsan, John Hawkes, Isaach de Bakole.
Directed by Michael Mann.

A great disappointment.

This film does not look or sound like the television series which it is paying homage to. Rather, it is based on the original pilot for the series. Director Michael Mann made the series distinctive by its look, its colour styles, the mod fashions of the 1980s. Now with the opportunity to do something special with it, he has made a very literally dark film.

The possibilities are there. The partnership between a black undercover agent and a white should be a good buddies movie. However, Colin Farrell and Jamie Foxx demonstrate practically no rapport whatsoever. There is no real friendship or bonding – the plot sometimes keeps them in their own individual world. There is no wit or clever repartee. The undercover drugs mission is always relevant but you have to keep alert to keep recognising who is who, who is bad, who is good, who is undercover pretending to be bad…

The characters give no concern for us to care for them or what is happening. The villains are far more vivid.

There is some gratuitous sex. There is some gratuitous violence. What might have been much more helpful would have been some gratuitous plot explanations. The main tension built up is that of trying to hear and understand the dialogue, see through the murky photography and put together what is going on.

The great Chinese actress Gong Li turns up as a kind of villain, who becomes love interest, who has to be saved. Ciaran Hinds looks sinister as the agents’ boss which makes you assume that he is going to be a double-crossing villain, which he isn’t. There is some suggestion of leaks to the criminals but who they are eludes our attention.

A lot of effort has gone into this which makes the disappointment greater.

1. The popularity of the television series? An adaptation for the 21st century? Locations, characters, issues? A 21st-century perspective?

2. The director, his series of films? Audience responses and critics, pro and con? How much of the spirit of the television series?

3. The title, Miami locations, ordinary, different, clubs, police and the FBI offices, wharves, drug deals, extension to Havana? The sea and the boats? The musical score?

4. Issues of drugs in the United States? Consequences? In Miami? European gangsters? Hispanic? The Chinese wife? The bosses and the gangs, the thugs, money environments?

5. Undercover officers, their skills, the pressures, the demands?

6. The film as a buddies’ movie? The two men, as friends, their work, collaboration, complementary? Black and white? Their personalities, collaboration, sharing the work and the dangers?

7. Sonny, Colin Farrell, type, work, initiatives, working with the authorities, self-assertive, undercover work? the encounter with Isabella, the effect, the relationship? Her husband and communicating with him? Communicating with the other thugs, the plans, the busts, the risks, the tactics? The effect of Trudy and the torture? Isabella to husband, the setup, the police, waiting, the sniper? Letting Isabella go? Going to the hospital for Trudy? The future?

8. Tubbs, Jamie Foxx, character, appearance, work, the collaboration with Sonny, the relationship with Trudy? The plans, the authorities, infiltration, undercover work, Trudy and the torture, the blast, the crisis, the final bust and shootout, going to the hospital, touching Trudy’s hand, her being alive?

9. Trudy, her life and work, relationship with Tubbs, the explosive necklace, blindfold, interrogation, the rescue, blowing up the hut? Surviving, hospital?

10. The members of the squad, the different roles, collaboration, seeing them in action, men and women?

11. Castillo, his authority, talking, planning, the interaction with Fujimoto? Responsibility?

12. Fujimoto, contact, his role, the pressures?

13. The gangsters, drug bosses, deals, sinister, confrontation? The gangster and his wife?

14. The world crime, power, money and drugs, ruthlessness?

15. The rules of the police, the FBI, the DEA?

THE VOICES

US, 2014, 103 minutes, Colour.
Ryan Reynolds, Gemma Atherton, Anna Kendrick, Smith, Jacki Weaver.
Directed by Marjane Satrapi.

While the title, The Voices, is accurate, it certainly does not indicate the content and treatment of this film. The voices are literally those voices that people with mental disturbance hear from within or think that they hear them from people, animals or objects outside them. The approach of this film is a blend of the serious and comic, some funny episodes, leading to sympathy for the central character, but also very serious about the consequences of hearing the voices and acting on the voices, especially for violence.

The audience is introduced to Jerry, affably played by Ryan Reynolds, who works in a factory but who, we soon learn, has emotional and mental difficulties. He lives alone except for his pet cat and pet dog. They provide the initial voices, the cat, Mr Whiskers, Scots-accent but malevolent contrasting with Bosco the dog, affable American voice. It is appropriate for someone who hears voices, the cat and the dog are both voiced by Ryan Reynolds himself.

Jerry visits the psychiatrist, Jacki Weaver, the government official who tends to interview him and tick off lists as to his behaviour – about which he lies, that he is not hearing voices, that he takes his medication. At work, he is a simple soul, attracted to Fiona, Gemma Arterton, and wants to take her out, but she stands him up, but later encounters him in the rain and he drives her into the countryside – with some devastating consequences. The television commentators and the police indicate that there is a serial killer about.

The same happens to the flirtatious Anna Kendrick whom he takes to his parents’ house with a flashback which gives some explanation for his psychological disturbance. She is also dismembered and he places Fiona’s head with hers in his fridge – where they talk to him as well.

The film builds up to a climax in his confrontation with the psychiatrist, the co-workers wondering about the absence of the women from the office, calling the police, while Jerry takes the psychiatrist as a hostage.

In its comic mode, with the serious perspective, The Voices can be illuminating for ordinary audiences to understand the completely different world of the schizophrenic, the influence of the voices from outside, which really are voices from within, disputing behaviour, disputing morality.

While the film has its very disturbing moments, it does end with a cheery song and dance routine from the central characters.

The film was directed by Marjane Satrapi who came from Iran, made the animated film Persepolis as well as the film about Iran, Chicken with Plums.


1. The impact of the film? The imagination behind the film and its themes?


2. Mental illness, hearing voices, schizophrenia, not paranoid? The voices from the exterior, from interior, as part of the self? The voices telling the subject what to do or what not to do? The voices emerging – cat, the dog, the heads in the refrigerator? The mental struggle? The moral struggle? Background violence and mental violence?

3. This kind of film as a way to understand mental illness, the blend of the serious and the comic?

4. Jerry’s point of view, audience sympathy for him, learning about him, understanding while not approving?

5. The town, the factory, homes and apartments, the workplaces, industry, offices, restaurants? The roads in the countryside? The musical score?

6. Ryan Reynolds and his skills with the voices, the Scots cat, the American dog? Authentic? The visuals of the animals’ mouths? The talking heads? The audience seeing the animals as ordinary and not speaking? Jerry and his medication, not taking the medication and the experience of the voices? Taking the medication and his becoming morose? Mr Whiskers as harsh, selfish? Bosco as good and principled? Mr Whiskers relishing his ideas, justifying Jerry’s action, goading him? Yet their being Jerry’s inner voices?

7. The visits to the psychiatrist, her listening, her lists and ticking items off, asking about the voices, urging him to the medication, sympathetic and Jerry and his attitudes towards her, not telling the truth? His taking her to the apartment, the threats? Her fear, being freed?

8. Jerry and his work, the predominance of pink, the making of baths, labelling, the other workers, the sympathetic boss? The invitation to help with the picnic, the meeting, Fiona, her ideas about the conga line, Jerry attracted, the flirting? At the party? His making the date, the restaurant, the Chinese, the Chinese Elvis? Her standing him up? Seeing her in the rain, helping her? The drive, the deer, the accident, her body in the woods, the frenzied stabbing, recuperating the body, taking it home, cutting it up, the neatly stacked parcels, her head in the fridge? Her attitude as a talking head, flirting with Jerry, lonely, asking for a companion?

9. Lisa, at work, with Allison and Fiona, going to the karaoke bar, Lisa’s background, the separation, flirting with Jerry, going out, enjoying his company, going to her place, the sexual encounter and its effect on Jerry, her coming to his apartment, the surprise with the cake, his not wanting to let her in, the skylight, using the pin on the lock, the discovery inside, fear, confrontation, her death, her head in the fridge?

10. Discussions with Allison, the character, at work, the karaoke? Jerry taking her, her head in the fridge?

11. The boss, friendly, the other workers, noting the absences of the women, their suspicions, calling the police?

12. The psychiatrist, the situation, trying to persuade Jerry, the rescue?

13. The police – and Jerry watching the report of the policeman and his talking from the television direct to Jerry?

14. Jerry and mental illness, the role of medication, nice, but…? His getting rid of the medication, becoming destructive?

15. The back story of his parents, taking Lisa to the house, his memories, as a boy, his parents and their behaviour?

16. The finale, the credits, the cheery song, everybody joining in singing, Jerry, the girls and the parents?

CASPER

US, 1995, 100 minutes, Colour.
Bill Pullman, Christina Ricci, Cathy Moriarty, Eric Idle, Devon Sawa.
Directed by Brad Silberling.

Casper, the friendly ghost, was very popular as a cartoon and in the television series. This film is a one-off, a feature film giving Casper more screen time and the possibilities for character development, even though he appears as the broad-stroked animated ghost.

The film has an opening for adults to be interested with the focus on a gruff and greedy woman, Cathy Moriarty, along with her comic lawyer, Eric Idle, inheriting a rundown mansion but finding that it has the possibility of hidden treasure. This leads them to the mansion where they immediately experience the haunting, the mischievous ghosts.

When the heiress contacts the Ghostbusters Dr James Harvey, Bill Pullman, to do something about the ghosts, he agrees and takes his young daughter, Kat, Christina Ricci, both of whom are mourning the death of her mother.

While there is some ghost busting, there are also plenty of tricks from mischievous ghosts. But the key to the film is the character of Casper, a young ghost, lonely, wanting friends, trying to remember his past, but becoming happily involved with Kat. Casper is voiced by Devon Sawa.

The films directed by Brad Silberling, principally a television director but who also made City of Angels and Moonlight Mile.

1. The popularity of the cartoon? Film, television? A 1990s adaptation and filling out the story and characters?

2. The colour photography, the special effects, the sinister house, the interiors, the comic ghosts, Casper, tricks and playfulness? The musical score?

3. The situation with Carrigan and her lawyer, the reading of the will, the cavalier attitude of the lawyer, Carrigan and the death of her father, her expectations, being left the mansion? The lawyer, his presence, support, her bossing him around? The decision to go to the mansion? The map and the indication of treasure? Going into the house, the experience of the ghosts, their fears?

4. Carrigan and her hiring Dr Harvey, the sadness of his wife’s death, caring for Kat, his role as a Ghostbuster? The personal story, the journey to the house, going into the house?

5. Kat, her age, death of her mother, love her father? Accompanying him? Moving from place to place and its effect on her? The response to the house? The ghosts? To Casper?

6. Casper, the cartoon presentation, the voice? The film focusing on his own story, loneliness, remembering his life? The scenes with
the toys? Encountering Kat, the relationship with her? Blossoming? The effect on Kat?

7. The uncles, their names, the comic effect, mischievous?

8. The resolution, for Dr Harvey and for Kat, the Casper?

9. A variation on a contemporary fairytale?

MONSTER HOUSE

US, 2006, 91 minutes, Colour.
Mitchell Musso, Spencer Locke, Sam Lerner, Catherine O’ Hara, Fred Willard, Steve Buscemi, Maggie Gylenhaal,, Jason Lee, Kevin James, Nick Cannon, John Heder, Kathleen Turner.
Directed by Gil Kenan.

This is a fine surprise. It is one of the best of the many animated films screening for holidays. Adults will enjoy a touch of horror with their children who don’t mind a reasonable scare or two. It was among the nominees for Oscar for Best Animated film.

Produced by Steven Spielberg and Robert Zemeckis (with computer techniques used in Polar Express) and directed by a young enthusiastic animator, Gil Kenan, Monster House is full of imagination and energy. The dialogue is witty and the voices from a top line of actors (including Steve Buscemi, Maggie Gyllenhaal, Jason Lee, Kevin James, Kathleen Turner) give the characters strong personalities.

Mitchell Musso is very good as the voice of D.J. who is on the verge of puberty (which is used as a cover-all for his behaviour). Sam Lerner is his cheeky friend Sam and Spencer Locke is alarmingly mature as a juvenile capitalist young girl who is drawn into the adventures of the mysterious house.

The house opposite D.J.s, which he obsessively watches through his telescope, is patrolled by its cranky owner. The house also swallows anything which strays onto its lawns. The young trio see the house transform into a monstrous face and mouth, devouring everything. They plan to destroy the house and venture in. The action inside the house is a medley of horror and scares but is nothing to what they experience outside again. With brilliant animation, the house goes on a wild rampage down the street and through the suburbs. How will D.J. and friends stop it?

There are some fascinating explanations of why the house is as aggressive as it is and all ends very happily and nicely.

ICE AGE: CONTINENTAL DRIFT

US, 2012, 88 minutes, Colour.
Voices of: Ray Romano, Denis Leary, John Leguizamo, Peter Dinklage Nick Frost, Queen Latifah, Josh Peck, Simon Pegg, Seann William Scott, Jennifer Lopez, Keke Palmer, Patrick Stewart, Wanda Sykes, Alan Tudyk, Rebel Wilson.
Directed by Steve Martino, Mike Thurmeier.

It’s a decade since we were first introduced to the everlasting nut-seeking Scrat (or even before because we got to like him – feel sorry for him – in several promos and trailers). Ice Age was released in 2002. The second film (and a game) in 2006. The third in 2009. Then a television short in 2011. And, here we are again. Ice Age has become part of family movie culture and of cinema animation.

And, Scrat is at it again. But, glad to say, he has more screen time than before. He gets to reappear throughout the film. And, at the end. His nut-avarice seems to be the cause of Atlantis sinking beneath the Atlantic Ocean, a piece of the mythology that we never realized before!

However, we are also soon introduced to a motley collection of prehistoric animals who have become friends – to littlies and oldies alike. They get to do some typical action so we are back in familiar territory with familiar characters. And the voices that we are know are back again (with shots of the voice talent to be seen in the final credits). Ray Romano is the ever-sturdy mammoth leader, Manny. Diego the sabre-toothed tiger is Denis Leary. John Leguizamo and Sid the Sloth are as ditsy as ever. And, there are some new voices. Peter Dinklage is most welcome as the ape pirate chief, Captain Gutt, Jennifer Lopez as a female sabre-toothed tiger in his crew, Wanda Sykes as Sid’s potty grandmother. Even Patrick Stewart turns up at the end as Ariscratle, showing Scrat around Atlantis. There are lots of American and British talent as the animals and the pirates.

The story is a variation on what we have seen before. But, that doesn’t matter much because the formula was a good one. There are the usual dangers of the Ice Age, glaciers splitting, mountains crumbling – though we are shown just how Australia and Africa were the result of all these rumblings. And, then a trek.

When Manny, Diego, Sid and Granny are separated from the rest of the herd, adrift on an iceberg, Manny is determined to find his wife and daughter (with whom he has been having teenage problems about going out and getting home late) and lead his little band home. The menace this time is the pirate gang, a menacing monkey captain voiced by Peter Dinklage, a scraggly lot except for a very fat seal, but enough to cause lots of mayhem and set up battles and escapes.
Formula, but very agreeable.

And the formula seems to work for young audiences as well as older audiences. To think that the young audience which enjoyed Ice Age is now entering the teens! I hope they enjoy this one and don’t look down on the little brothers and sisters who will be laughing and excited.


1. The popularity of the series? Characters, the Ice Age world, prehistory? Humour, venture? The parallel of the animal world with humans?

2. The animation, the ice age look, the mammoths, all the animals, the remnant to the cataclysm, disruption, splits and the earth, mountains rising? The icebergs, the sea, drifting? The score? The songs? Jaunty and happy?

3. The introduction to Scrat, the tone, the comedy, the acorns, the earth splitting, his recurring throughout the film, his character, the quest for the acorns, in all the adventures, in the sea, the cliffs, the map in the shell? Underwater? His arriving in at Atlantis, the explanation, is causing the hole, the recreation of ancient, Greece, monuments, philosophers, the statue – and the sinking of Atlantis?

4. The familiar characters, welcomed? Manny and his wife, Peaches, his daughter, her rebellion? Her small protector and his gallantry? Diego, the Sabre tiger, his role in the community? Sid, the sloth, his family arriving, having rejected him, bringing the grandmother, abandoning her? The grandmother, losing her teeth, cranky, part of the adventure? The rabbits, the squirrels and other creatures?

5. The splitting of the earth, the separation of the two sides, the mother and Peaches on one side, Manny and Diego and the others on the other? The trek of the mother, the daughter, the other characters, Peaches falling out with the other girl mammoths, the peer pressure and their snobbery?

6. Manny and Diego and Sid on the iceberg, with the grandmother? Her taking a bath, falling off the berg, being rescued? The whale, making friends with it, the help of the whale and creatures going inside? Going to sea, surviving?

7. The Pirates, the captain, the monkey, his crew, the range of types, the sweet tiger, first mate? The action, the jokes about pirates, the elaborate fights, Manny and co winning? The captain, vindictive, his return, his being trapped?

8. The island, the tiger running away, her betrayal, the consequences for herself and the captain? The small creatures, echoes of Braveheart and the warpaint, their attack, on leaves, leaping over the enemy?

9. The happy reunion, the captain still taking hostages? The devices to overcome him? The voyage, the transformation and everyone? The parents being less protective and wanting the children to have freedom? Acceptance? The tiger and Diego’s experience of life? Sid and his heroics, the grandmother?

10. Ready for another sequel?

THE RED HOUSE

US, 1947, 100 minutes, Black and white.
Edward G Robinson, Lon Mc Callister, Judith Anderson, Julie London, Rory Calhoun, Allene Roberts, Ona Munson.
Directed by Delmer Daves.

The Red House seems a contemporary story of 1947. As it opens, the war is over, the youngsters of the period (seemingly like many of the youngsters of later decades go to school, graduate later because most of them have jobs which keeps them busy, travelling on the bus, all things seemingly normal.

Edward G Robinson has a very good role as a farmer, Pete, injured in an accident, limping with a stick, who lives with his devoted sister played in a very kindly and subdued way by Judith Anderson, a long way from Mrs Danvers. They have a young girl living with them, Meg, played by Allene Roberts. She is rather fond of a young man at school, played by Lon Mc Callister. The older couple are persuaded to take on Mc Callister to help with the farm work.

The film begins to become darker when Pete warns Nathan not to go into the woods, that he will get lost, that he would hear screams. His curiosity is roused as well as that of Meg and they go searching in the woods. Ultimately, there is a revelation about Pete's and his infatuation with the young woman who lived in the Red House, his anger at her marriage and the birth of the child, his anger at her husband, his wanting her to go away with him but his smothering her against calling out. Peter and his sister take care of the little girl.

There are some complications with Rory Calhoun as a gun-toting employee to keep the woods safe but who is involved in some reckless shooting. Julie London is the rich girl of the town who sets her sights on Nathan, who resists her, but is also involved with Calhoun.

The film has aspects of the film noir of the period. The truths are gradually revealed. and there is tragedy.

Writer Delmer Daves had begun to direct dramas and melodramas during the 1940s and was to move, significantly, into many westerns in the 1950s, including the ground-breaking Broken Arrow and 3:10 to Yuma. During the 1960s he made several popular romances like A Summer Place.

1. The film of the mid 1940s, a variation on the film noir? The film that goes from brightness to darkness? Its reputation?

2. The location photography, the American countryside, the valley and woods, the farm, the red house, farm, school, bus, shops? The musical score?

3. The title, for a film in black-and-white? The title and evocation? The revelation of what happened in the red house?

4. The opening explanation, youngsters in the town, going to school, having jobs, later graduation, their needs?

5. The school, the bus, Nathan, the bond with Meg, travelling on the bus, Meg bringing him home and asking Pete for a job?

6. The focus on Meg, age, adopted, her life and style, Pete and Ellen adopting her, her going to school”, the attraction to Nathan, the domestic life, hearing about the red house, the puzzle, encouraged by Nathan to be curious, going into the woods, the search? Pete and his reaction, the mystery of the identity of Jenny? Meg finding the house, Teller and his shooting at her? Her fall, breaking her leg, the visit of the doctor? Recovery, Nathan leaving going to work for the other family? His return, intentions, Pete’s death? Her future?

7. Nathan, pleasant, his work, the rich girl and her flirting, Pete and Ellen and accepting him, his work, the warning about walking through the woods, getting lost, the house, the screams? His going into the wood, becoming lost, the sense of the screaming? The return? Hospitality, Ellen and the breakfasts? With Meg, with the rich girl, his leaving to do other work? His mother? The return, saving Meg? His attitude inventions?

8. Pete and Ellen, brother and sister, pleasant, the farm, the limpiong, his character, love for Meg? Accepting Nathan, the warning about the woods? Forbidding Meg to go into the woods? The gradual revelation of his story, from light to darkness, the back story, infatuation with Jenny, her husband and the marriage, Peter and his anger, the birth of the baby, Pete not wanting Jenny to cry out, smothering her? Pete and his mental collapse? With Meg, the obsession with the house, calling her Jenny? Ellen, the support, her going out, then shot, her death? His going to the house, reliving the experience with Jenny, the threat to make, the icehouse, his fall and his death?

9. Ellen, pleasant, not having her own life, the missed opportunity of marriage to the doctor? His continued visits for Meg and her leg?

10. Teller, his role, shooting, his relationship with the flirting girl, firing the shots Meg, the death of Ellen? His talking the girl, getting the car, her driving, the crash? His wanting to escape?

11. The blend of Gothic storytelling with the elements of tragedy?

BOOGEYMAN

US 2005, 89 minutes, Colour.
Barry Watson, Emily Deschanel.
Directed by Stephen Kay.

The American countryside in Boogeyman does not look quite American – perhaps that was intended to give an eerie atmosphere to this psychological horror story. Then the credits reveal that it was filmed in New Zealand where Sam Raimi’s company had spent years filming the television series, Hercules and Xena (which is why Lucy Lawless, the one time Xena, appears here – she is married to the producer as well).

Mention of Sam Raimi reminds us that he is a horror aficionado who made The Evil Dead, Darkman and The Gift. He and his partners have set up a new company to make horror thrillers. Their first was the US remake in 2004 of the Japanese film, The Grudge. It was a huge box-office success. The Boogeyman is their second film. And it is pretty good of its kind.

Raimi makes the important point that the parodies of the 90s, especially the Scream and Scary Movie franchises really brought the slasher horror genre to a close for the time being – although the Americans are still making and re-making derivatives of the Texas Chainsaw Massacre. Raimi goes on to say that the horor films breaking new ground are those from Japan and Korea (witness the Ring films and their US remakes). The emphasis is less on slash and gore but rather on atmosphere. They take ordinary people in ordinary situations and move them into a mysterious world, part natural, part supernatural, where it is hard to distinguish what is real and what is ghostly. At least, for the moment, this is a more fruitful way of dramatising horror – although it is less horror than terror.

Boogeyman is slight. Barry Watson is a grown up man who realises that his father’s bedtime story frightened him into imagining that the Boogeyman took his father away when he really walked out on his family. Or has he imagined it and what if the Boogeyman were still taking people away and stalking his old family home? What better than to go to confront fears in the home by staying overnight? The real answer is probably counselling but in lieu of this, that is what our hero does. And, yes, the Boogeyman is still there.

For the slasher fans, this may be tame stuff (check the comments posted on IMDb by those who want fright jumps). For those who prefer a little more subtlety, this one keeps one in tense tingling most of the way through.

1. The title, the traditions of the boogeyman? Appearances, closet, menace, abductions…?

2. The term, the homes, travel, the old house, sinister, memories? The musical score?

3. The focus on Tim, his experiences of his father, the disappearance, abduction, killed…? Growing up, the relationship with his mother, his uncle giving him the news that his mother had died? His relationship with Jessica?

4. The psychiatrist, his going to his old town, local suspicious and unfriendly, meeting Kate, the plan to confront his fears, going to the old house?

5. The appearance of Franny, her age, knowledge, interactions with Tim, her haversack, the posters for lost children, the suggestion they were taken by the boogeyman, their appearing?

6. The effect on Tim, Kate and his friends, taken, rattled, thrown around the house?

7. The motel, the portal, back to the house, the experiences of the Father, how much resolution?

8. Fans were disappointed with the film, confusing, not capitalising on the mystique of the boogeyman?