ALL ABOUT E

Australia, 2015, 96 minutes, Colour.
Mandahla Rose, Julia Billington, Brett Rogers, Simon Bolton, Lex Marinos.
Directed by Louise Wadley.

All About E is a small budget film, the title with an echo of the Betty Davis film, All About Eve , a story about a young woman from Sydney who gives up her studies of the clarinet in order to be a DJ at a club. The club is run by a shady character, money changing, drugs, and demanding creditors.

The central character, E, has been involved in a love relationship with a woman from the country, Trish, but has other liaisons. The intention of the filmmakers is that this be a film with a lesbian agenda, out there for the public to respond to.

The main action of the film concerns E and her gay roommate, Matt, fleeing the club owner with the money that was misplaced in a taxi. Refused help by her parents and a friend, she and Matt decide to go to Trish’s farm in the country where they are temporally safe but the owner tracks them down, a confrontation – and helicopter rescue.

Mandahla Rose as E is a strong screen presence.

1. An Australian story? Universal story? Relationships? Sexuality?

2. A film about lesbian characters, in themselves, the relationship, their love, the consequences?

3. The Sydney settings, the club and the disco, types and customers, drugs? The flats? The streets? Countryside, the farm, the paddocks, the sheds? Authentic feel?

4. The musical score, the disco, the songs?

5. The title, application of All About Eve?

6. The introduction, E and her sexuality, the relationship, everybody waiting for her to come on stage, her arrival, her talent as a DJ?

7. The staff at the club, Johnny, his relationship with E, wanting to dominate her? His henchmen? The issue of the money, the suitcase, its disappearance? His searching, the CCTV, suspicions of E and Matt, the pursuit?

8. Matt, gay, at the club, sharing the flat with E, online searching for a partner, the money, his fears, wanting to give it back? E and her determination to keep it? Hundred dollars donation to the kids and the appeal? The men pursuing them?

9. Going to her parents, their hopes for her, playing the clarinet, giving up her studies, her believing in her talent as a DJ? Her mother’s reaction, her father’s? Going to her friends, the refusal to take them in?

10. The decision to go to the country, the flashbacks to her relationship with Trish?

11. Go to the country, Trish receiving them, their staying, Johnny turning up, their running away, with the money? The helicopter? The confrontation, Johnny with the gun knife, threatening Trish, Matt and his fear, The gun, the threats, the escape with a helicopter?

12. And the helicopter dispersing all the money…?

DROWN

Australia, 2015, 93 minutes, Colour.
Matt Levett, Jack Matthews, Harry Cook, Sam Anderson, Maya Stange, Jay R Tinaco.
Directed by Dean Francis.

Drown is not an easy watch. While very interesting, it offers a tough subject and tough exploration of characters.

The title has the overtones of water, death – and possible rescue. All in evidence in this film. This is the case right from the beginning with a voice-over by the star at the Sydney Beach Lifesaver club, Lenny (Matt Levett very forceful in a central role, a young man full of self-doubt with self-assertive behaviour). Lenny is swimming, talking about himself, the end of the world, about a young woman that he had not been able to save from drowning. His words are important and the whole scene is taken up at the end with devastating significance.

This is an Australian story. It is a Sydney story. It is a beach story. It is a young men’s story. And the particular focus with two of the central characters is homosexual orientation, coming out, or denial, desire and lust, some self-acceptance and some sobering repercussions of denial.

The screenplay co-written by Dean Francis, who also directed the film and edited it, is based on a play by Stephen Davies. The scenario has been opened out considerably and does not give the impression of having been a play originally – although there is quite a deal of voice-over and a style of commentary within the voice-over with comments like, he said, I said… The screenplay is also demanding on audience attention, the basic situation and a whole range of flashbacks, actual events, but a great emphasis on Lenny and the memories that keep coming into his mind.

The focus of Lenny’s attention is a new recruit as a lifesaver, Phil (Jack Matthews), good-looking, strong, beating champion Lenny in variations on the Iron Man race, popular at the club and becoming a new champion. Lenny and the audience discover that Phil is a gay man, a scene where he meets his partner, Tom (Sam Anderson) at a bookshop and setting up a home with him. Phil’ encounters with Tom are part of Lenny’s constant memories, Lenny becoming more obsessed while in denial about his feelings.

A surprise occurs when there is a flashback to Lenny as a child, his tough lifesaver father hosing him down on the front lawn, calling him faggot, demanding that he be a man and assert himself. This is highlighted when Lenny wins his trophy and attributes his success to his father, now infirm and with breathing apparatus.

The other central character is called Meat, Harry Cook, Lenny’s friend from school days, a pleasant young man in his way, a touch hefty, a touch dependent, and definitely Lenny’s acolyte, doing whatever Lenny asked – as has been seen in a flashback where he and Lenny bash a young gay boy at school.

While we have seen aspects of the climactic scene, it all comes to a head with Lenny’s attempt to humiliate and demean Phil, Lenny’s self-directed homophobia directing his malevolent behaviour.

The performances are very effective, the entry into the different world of Lenny and Phil challenging the audience about homosexuality, acceptance and denial – and the drowning repercussions of denial.

1. The title, water, rescue, death? Images of water? Images of water, swimming, drowning? Themes?

2. An Australian story? Sydney story? Beach story? Young men’s story?

3. The locations, the beaches, the sand, the waves, surfing, swimmers, sun-bakers? The lifesavers and the tower? Clubs, King’s Cross, the streets? The gay bar? The Mardi Gras procession? The musical score?

4. The theme of homosexuality, the response of Australian audiences? The focus of the characters, characters who were out, characters in denial and the effect? Latent homosexuality, extroverted homosexuality? Issues of self-image, self-acceptance, self-condemnation? Gay men in the street, camaraderie of the surfing club? Friendships? Gay relationships, as ordinary, domestic? The Mardi Gras procession, the floats? The visuals: bodies, sexual activity? Young men, coping or not? How insightful was the screenplay?

5. Lenny, his voice-over, the initial swimming, his comment about the end of the world, his low self-image, remembering the girl who had died? His place in the lifesaving club, the trophies, his father and grandfather, his being the champion, receiving the trophy? Secure and not secure?

6. The structure of the film, in the present, Lenny swimming, his commentary, brought up again at the end? The insertion of flashbacks? His childhood, memories of Phil? The audience constructing the narrative? The lifesaving club and its ethos? Lenny and his friend, his penis, calling him Meat, their activities at school? The bashing of the gay boy? Phil and his arrival at the club, Lenny and his jealousy, rivalry, in the competition, Lenny seeing Phil with his partner, the effect? Lenny and his show poses, buying the trunks, looking at himself in the mirror, his orientation, lust, dislike of Phil, mean and destructive?

7. Lenny, his childhood, his father hosing him down when a boy, calling him faggot, getting Lenny to assert himself? Lenny’s memories, yet his speech at the reception of the trophy, the tribute to his father, his father and the breathing apparatus? Lenny in this popularity with the team, with the audience at the celebration?

8. The character of Meat, school, his penis size, his name, his friendship with Lenny, the bashing at school, his being a follower, the nature of his friendship, except in the way that he was treated, ordered around by Lenny? Heterosexual, at the gay club, the toilet and the proposition, his response, his reaction to Lenny’s behaviour, his friendship with Phil?

9. Lenny, swimming to the rescue of the girl, the encounter, the kiss, her swimming out and drowning? Her later appearing in his consciousness? Following her example?

10. Phil, his arrival, the strong presence, his skills, rescuing the boy, winning the race? His wanting to belong to the club, following Lenny? The encounter with Tom at the bookshop, the attraction, the relationship, at home, the support, at the Mardi Gras? At the end with Phil being rescued?

11. The night out, Lenny leading, pressurising the others to drink, going to King’s Cross, the streets, the gay men kissing on the street, going to the bar, the Asian young man and his proposition to Meat, Lenny watching Phil, Phil at ease, drinking, taking the drugs, dancing, Lenny going downstairs, the encounter with the Asian, the sexual experience, his reaction, getting out, going to the car?

12. The scene on the beach, Lenny and the mixtures of motivation, forcing Meat to dig, wanting to humiliate Phil, the stripping, its effect? The fight with Meat and touching him and Meat’s reaction? Phil and his being out of it, response, being buried? Lenny and his attacking Meat and not filling in the hole, challenging him to the swim, their swimming out to sea, Meat and his challenge to Lenny, Lenny continuing out, the initial voice-over – and Lenny and his drowning?

BLUES BUSTERS

US, 1950, 67 minutes, Black and white.
Leo Gorcey , Huntz Hall, Adele Jergens, Craig Stevens, Bernard Gorcey.
Directed by William Beaudine.

Along with the many very small-budget second features in the 1940s and 1950s featuring Leo Gorcey and Huntz Hall, this is just a footnote in film history.

Gorcey and others appeared in the 1937 film, Dead End, with a group of young actors called the end And Kids which led to The Bowery Boys. They had a number of incarnations in short films including the East End Kids. Eventually, with Leo Gorcey as star and producer, they made a number of filler films, very American in their style.

In this one, Huntz Hall portrays his usual character who has a tonsillitis operation and finds that he can sing like Bing Crosby, becoming very popular in nightclubs. He is supported by Slip (Gorcey) and the bar proprietor, Louie (Bernard Gorcey). He is loyal but rather dimwitted and allows himself to be led astray by Adele Jergens, signing his autograph all over hotel room and then, unwittingly, signing away his contract to a rival club owner, played by Craig Stevens in an early role. Most of the action concerns Hall’s comedy, the exasperation of Louie and his group, the dreadful lack of talent with Slip and his attempt to sing, with their dancer setting up the rival for a jealous outburst and the retrieval of the contract.

A historical movie footnote.

HERE COME THE MARINES

US, 1952, 67 minutes, Black and white dot
Leo Gorcey, Huntz Hall.
Directed by William Beaudine.

Along with the many very small-budget second features in the 1940s and 1950s featuring Leo Gorcey and Huntz Hall, this is just a footnote in film history.

Gorcey and others appeared in the 1937 film, Dead End, with a group of young actors called the Dead End Kids developing to The Bowery Boys. They had a number of incarnations in short films including the East End Kids. Eventually, with Leo Gorcey as star and producer, they made a number of filler films, very American in their style.

In this one, Slip (Gorcey) and his friends are called up to serve in the Marines. this provides material familiar from the many propaganda films 10 years earlier for World War II recruitment.There are, of course, ups and downs with severe Sgt Majors, drills, exercises…

The film features Huntz Hall and his distinctive kind of dopey comedy, completely ineffectual in his marine drills, but encountering the officer in charge who served with his father – and thus he gets a great deal of promotion while messing up everything. By the end, there is a new commander and Gorcey finds that he served with his father – which leads to the loss of promotion by Hall and consequent jokes.

A footnote in cinema history.

HILDA

Mexico, 2014, 89 minutes, Colour.
Veronica Langer, Adriana Paz.
Directed by Andres Clariond.

Hilda is a brief film about a maid who is drawn into a wealthy household with the señora of the household becoming codependent on her.

The film shows the life of the wealthy – but also some satire when the señora remembers her seemingly socialist past, goes to a school to address the students, finds that they react against her, having footage of her haughty behaviour towards poorer people – and they eventually lay siege to her house.

Hilda His the wife of the gardener who His persuaded to allow his wife to come to work on the house, where she becomes essential to the life of the señora who pampers her, trains her, clothes her, gets her to participate in all her activities, prevents are going home on weekends to see her family.

There is a climax with the student attack on the house and the young gardener coming to a retrieve his wife.

1. A Mexican drama with satirical elements? Observations on Mexican society, class distinctions, the wealthy, the servant class?

2. The Mexican setting, city, affluent home, gardens and grounds, the contrast with the poorer classes and their settings? The musical score?

3. The title, the focus on the young woman, her marriage to the gardener, her family and children, the request for her to be a servant, her arriving at the household, being trained, the transformation of life?

4. The señora, her character, age, experience, wealth? Relationship with her husband? His responding to her whims? The range of servants, the details of work and household? Servants going in and out, the interviews, hiring the two Indian women to serve in the house? Her interest in the names of her servants? Never having had a Hilda? The discussions with the gardener, persuading him to send his wife?

5. The husband, his business interests, presents, absences, business deals? His reactions to his wife? The preparation of the social, the important guests, his wife’s behaviour?

6. The señora, a growing dependence on Hilda, grooming her, her clothes, her manners, helping in the kitchen, becoming companion, the señora forcing her to stay weekends, Hilda wanting to get to her family? Becoming virtually imprisoned?

7. The effect on the señora, co-dependence, manipulating Hilda and everyone else?

8. The señora, the past studies, socialist leanings, going to the school, being with the students, her talk, their reactions, the footage of her haughty behaviour? Her being humiliated? The students and their attack on her house, the intrusion, the police and guards?

9. The husband, his coming to the house, trying to get in, the police, the upset, recovering his wife?

10. And the señora interviewing a new maid with a name she had not had before?

11. The characterisations, situations – and the implied critique of Mexican society?

MONEY MONSTER

US, 2016, 98 minutes, Colour.
George Clooney, Julia Roberts, Jack O’ Connell, Dominic West, Caitriona Balfe, Giancarlo Esposito, Christopher Denham, Dennis Boutsikaris.
Directed by Jodie Foster.

At first hearing, the name might sound like a description of financial exploiter, a wolf of Wall Street, a dealer whose creed is “Greed is good”. And there is a character who fits these descriptions.

However, the title of the film is the title of a glitzy television show with a personality who relies on zany enthusiasm and antics while commenting on American finance. His name is Lee and he is played by George Clooney.

There have been quite a number of films about American finance and the double dealings, many documentaries, especially in the wake of the Global Financial Crisis, and interesting feature films like the 1987 Wall Street as well as its successor in 2009, films like Margin Call and the 2015 The Big Short.

For most audiences, Money Monster will be the most enjoyable.

We are introduced to explanations about computerised money with computerised visuals illustrating money changing hands and the question about whether a computer can lose money through glitches in the algorithm. While the question hangs there, Lee appears, George Clooney obviously enjoying himself as a rather egotistical personality, controlling everyone, defying his director, Patty, Julia Roberts, and forever going off the prepared text and with a whole lot of gimmicks including his arrival as a song and dance man with chorus, a different hat each time and then tossing it away, and a whole lot of gimmicks, pressing buttons for all kinds of visuals, including clips from horror films to give background to his commentary, his observations and, though he later denies it but is proved wrong, his investment recommendations.

So, where could this be going? A delivery man appears the studio, lurking within range of the camera – and then pulling a gun, firing shots, uttering all kinds of threats, taking Lee, now a quivering mass compared with his self-confident patter, as hostage. Much of the rest of the film takes place in the studio with the hostage situation, Patty able to communicate with Lee through the microphone in his ear, directing him, encouraging him to recover his confidence to try to take charge of the situation. Then there are the police, a negotiator, snipers moving throughout the studio, the discovery of the young man’s girlfriend and getting her to talk to him on camera.

Who is this young man? His name is Kyle and he is played very effectively by English actor Jack O’ Connell. He has inherited $60,000 and invested it in a company (whose CEO we have glimpsed, with clips from Korea and South Africa, and who has not turned up for a scheduled interview). Kyle is in the network vein of being mad as hell and refusing to take it anymore. He puts a bomb vest on Lee and keeps his thumb on the button for detonation.

The film does not have a long-running time, just under 100 minutes, but the pace keeps up, plot developments, swift and slick editing, the audience participating with eagerness and touches of adrenaline.

With this kind of story, there is a potential for many twists and this is what happens. Kyle has the gun and the finger on the button but he is not the brightest, especially when his girlfriend turns on him, Lee getting the better of him with financial commentary (although Lee makes a huge on camera appeal to the American masses to invest in the company to adjust the losses – the audience sees quite a range of audiences and then discovers that they are rather apathetic, even about Lee’s life).

The film does eventually move outside the studio into the New York streets with crowds apprehensive, imitating Lee’s song and dance routines, the police following, but Kyle with his finger still on the button.

In the meantime, the CEO, played by Dominic West, does turn up, deals with his PR associate, Caitriona Balfe, and Kyle gets his chance for confrontation and Lee gets his opportunity to do his program live, with Patty working excellently behind the scenes with computer hackers, with a producer running the streets to get documentation, with her research assistants turning up information and so able to provide visuals for Lee to bring it all to a close.

While all is serious, there is enough humour in dialogue and situation throughout the film keep it both exciting and entertaining, with the touch of the amusing. George Clooney is at his best, having to go through quite a range of emotions from his self-promotion to fear, to gaining control of the situation, to becoming an on-screen hero again. Julia Roberts is a solid presence as the director.

The interesting thing is that money Monster was directed by Jodie Foster, the kind of film that she might appear in but not that we expect her to direct: very well-based action, interesting character development, keeping the pace moving with the changing situations.

So, a very enjoyable film, entertaining but raising many issues of finance, entrepreneurs, fraud and the victims of fraudsters.

1. An entertainment? Social observations, especially on the money market? Picture of human nature?

2. The American context of finance, fraud and greed, entrepreneurs, victims?

3. The American context of media, television programming, glitz, personalities, message, technical aspects?

4. The context of journalism, reporters, the influence, investigative journalism?

5. The context of anger, victims, guns, bombs, sieges, hostages?

6. The point made that this was about an American – and not Muslim or Asian?

7. New York City, the studio, the interiors, the details of the interiors? The streets, police precincts, apartments, business offices? The musical score?

8. The world of television, the studio, performance, technical aspects, behind-the-scenes, communication between producer and personality, research, producers in action, hackers, research?

9. The skills of the director and her cast?

10. The introduction, algorithms, computerised money, the possibility of glitches? The visuals for this computer money?

11. Lee, George Clooney performance, talking before his show, Patty, issues of dates, dinners, busyness, phone calls, his assistants? Letting the script go? Improvising? The visuals behind his talking, the use of horror movies? The entrance, the song and dance routines, talking, his enthusiasm? His money subject?

12. Ibis, Walt Canby, the glimpses of South Africa, Korea? As a person, his plane, no contact for several days? Diane, PR, ready for the interview, her role, her reactions, Avery confronting her, disobeying him, not accountable to him, starting up her own investigation?

13. Kyle, coming in with the parcels, the camera seeking him, the gun, everybody’s reaction, Lee and his fear, putting on the vest and Kyle with his hand on the button? His claims, loss of money, the gradual revelation of his personal story? Inheriting the money, investing it, his girlfriend, her pregnancy? His threats, the shots?

14. Lee, his reaction, fear, talking, Patty telling him not to talk? The situation, Patty directing him, control, screens, Lee listening to Patty, the camera angles, Lenny the cameraman and his presence? Strategies?

15. The police, the chief, in charge, the negotiator, the bet about the character of Kyle, placing of the snipers, tracking down Kyle’s identity, finding the girlfriend, the maps of the studio, the evacuation of the personnel? The agreement to kill Lee if necessary?

16. Lee keeping steady, taking charge more and more, using his ability as a performer? Patty and the information? Kyle and his response, the score points on the board?

17. The girlfriend, coming into the studio, on the screen, her fierce attack on Kyle, as a person, his arrogance, spending the money, his losses, her criticisms of his weakness of character?

18. The effect on Kyle, talking about himself, the money inheritance, the attack on his self-confidence?

19. The audiences watching, Lee and his speaking, wanting them to buy, their not responding?

20. Behind-the-scenes, Ron, the sexual encounter and his not knowing what was going on, getting him on further investigations, literally
running around the city, getting information, feeding it to Patty? The other assistants, the assistant in the street and overhearing the information about killing Lee?

21. Diane, her role, the information from Korea, interview with the creator of the algorithm? The translator? Comment about the failure of the company and the human print?

22. Hackers, in Iceland, contacting them, the different voice for the phone, the giving the information? In the studio, the researcher, finding out about Mambo?

23. Kyle and Lee together, and alliance, the reactions of police, Patty, the viewing public? Going out with Lenny, Lenny and the comment on the ball’s image? In the lift, Lee talking frankly about Patty not knowing she was hearing him? On the street, the long walk, the crowds and the variety of reactions? Fans, those attacking? Patty in the van, Ron and his providing the information? The van prevented
from going further after the shots on the street and Ron’s being wounded?

24. Diane, airport, meeting Walt, searching his passport, texting Patty, the issue of betrayal and Walt’s reaction?

25. The drama on the way, the shooting, the crowd reaction? Kyle revealing that there was no bomb? The continuing with the pretence because of the police?

26. The arrival, Walt trying to escape, court, the police, the gun, transferring the vest to Walt? Lee having his show, the interview with Walt, Patty ready with the condemnatory visuals, the explanation?

27. Kyle, wanting Walt to admit that he had lied? Walt and his fear? Kyle lifting his finger, then shot? Lee and his reaction, dismay?

28. The aftermath, the takeaway dinner, Lee and Patty talking? Kyle and the TV reported about him? The prospect of Walt and his arrest
– and the humorous technique on you tube and his continually being afraid of the bombs – and the insertion of terror scenes from the movies?

29. A popular way of communicating message about American finances and fraud?

AND THEN THERE WERE NONE

UK, 2015, 155 minutes, Colour.
Charles Dunn’s, Burns Gorman, Aidan Turner, Maeve Dermody, Miranda Richardson, Toby Stephens, Anna Maxwell Martin, Douglas Booth, Noah Taylor, Sam Neill.
Directed by Craig Viveros.

Agatha Christie’s And Then There Were None was first formed by René Clair in 1945 with a strong character cast. It was remade in 1966, American production, called 10 Little Indians. There was a further version by Peter Collinson in the 1970s again with a star British cast and Richard Attenborough as the judge. There was a later version, filmed in South Africa, but given a romantic ending. There have been several television versions as well as Russian, German and French,

This is a prestige BBC production, screened over three nights. Once again it has a strong cast of character actors, especially with Charles Danve as the judge, Sam Neill the general, Toby Stephens as the doctor, Miranda Richardson as the bigoted woman, Burns Gorman in a better role as the detective, Aidan Turner as the military man, Australian Maeve Dermody as Vera Claythorne, Douglas Booth as the callous young man and Noah Taylor and Anna Maxwell Martin as the servants.

The location of the mansion on an isolated island, with its rooms and corridors, the grounds, the cliffs and the sea, gives a good atmosphere to the film.

The title is based on the rhyme, originally 10 Little Niggers, arranged to 10 Little Indians and here to 10 Soldier Boys.

As the title suggests, there is a diminishing cast, all of whom have been guilty of a crime and are being executed by U N Owen who may or may not be one of the group.

Audiences who enjoy Agatha Christie stories will enjoy this one.

1. The popularity of Agatha Christie and her novels? Storytelling, characters, crime, twists and mysteries? Solutions?

2. The popularity of this story, five film versions over 70 years? The issue of the title and the ship from “niggers” to Indians to soldier boys?

3. The 1939 setting, August, pre-war? England in the atmosphere? Social situations, class situations?

4. The introduction to each of the characters, the letters and phone calls, the interviews, the name of the inviter, U N Owen? The group believing the authenticity of the invitation?

5. The gathering, the nature of the group, the boat, going to the island, the vast house, the open space around it, the cliffs, the sea?
The rooms, meals, kitchen? Socialising? The details, the cupboard with the recording?

6. The glimpses of the lives of the people invited, the focus on Vera, the swimming, the boy, reactions?

7. The portrait of each of the characters:

• the judge, an old man, hard, hanging judge, people carrying his cases, polite, kindly with Vera, collaborating with the doctor, the moderator in the searching of the luggage? His retiring to bed, discovered shot? The final revelation that he was responsible, the flashbacks to his judgement of the criminal, going to the hanging, enjoying it, a kindred spirit, except that his victims were all guilty? His plan with the doctor, his reappearance, confrontation with Vera, the noose hanging, his explanations, his kicking the chair away, her mistake about the remaining bullet, the table, the glass of wine, shooting himself and the gun sliding across the table as if he had been murdered?

• The doctor, the visuals of the hospital, his operation? His drinking, malpractice, denials? His reaction, being upset, people suspicions, the examination of the luggage? His trust in the judge? Fears, the drink, the drugs, mayhem? Going out into the night, the judge pushing him over the cliff? The clue of the red herring?

• The general, old school, military manner, the flashbacks, the war, his wife, her letter, the affair, killing the lover?

• Emily Brent, her religious background, her bigotry, aristocratic in manner, looking after girls, the anti-Semitic remarks, the treatment
of Mrs Rogers, the asking of the girl and her death?

• The detective, his character, changing his name, is gruff manner, the issue of the gun, lack of trust? The homophobic murder? Flashbacks, seeming kindness, quickly killing the young man? Participating in the drugs and drinking? Increasing fears, his death?

• Vera, the drowning of the little boy, a job, the interview, her involvement in the search, noticing the diminishing statues, the attraction to Lombard, together during the night? The discovery of the doctor’s body, realising they were the last two, Vera getting the gun, shooting Lombard? The further flashbacks to her being with the little boy, lying about her running, letting him go into the water, her relationship with the boy’s uncle, in the court, the grief of the mother, her offering to look after the house, the uncle and his realising the truth, that she had murdered the boy to marry him and get the money? Her memories, going into the room, seeing the noose, putting her head in the noose, the judge coming in, the confrontation, her pleading, the issue of the bullet and her mistake, the judge pushing the chair and her hanging?

• Lombard, his African background, the touch of the callous, the mines and the deaths, the many killed, the motivation? His relationship with Vera, spending the night? The search for the doctor, discovering his body, Vera getting the gun and shooting him?

• The young man, reckless driving of the car, his manner, presumption, killing people on the road, the responsibility, the drugs, as
being the first to die?

• Mr and Mrs Rogers, servants, cook, domestic behaviour, at the service of all the guests? The flashback, the mistress, Rogers and his harsh killing, the wife and her nerves, his cruelty?

8. The progress of the deaths, the details according to the Rhine, the statues diminishing?

9. Upset, the gun, searching? The effect of each death?

10. The remnant, the drinking, the drugs, the effect? The continued suspicions, in a group or separate?

11. Audiences and their suspicions about who was responsible? Whether they decided that it was the judge who was responsible?

DEAD END

US, 2004, 85 minutes, Colour.
Ray Wise, Lin Shaye, Alexandra Holden.
Directed by Jean- Baptiste Andrea, Fabrice Canepa.

What would two young Frenchman who had made short films in France do when offered their first feature film? One would guess, stay at home and mark their mark. However, like the Australian makers of the terror-drama, Saw, they went to Hollywood. And they made another horror road movie, the kind that is full of shouting, some crass sexual touches, some gore and is destined for the video/DVD market.

There is a twist at the end that the knowledgible in these matters might pick up. It makes a bit of a difference to interpreting what has gone on in the preceding hour and a quarter but does not quite make up for it. It is a generally ugly film with definitely ugly characters.

Press comments by the makers suggest that they are presenting an ideal American family. God help us - and them. They bicker and bitch from the first moment. Dad is a control freak (and is played by Ray Wise who, after Twin Peaks and other like dramas, is used to this kind of thing and perpetually complaining (while giving ample cause for everyone else to complain after he has taken a Christmas Eve shortcut that gets them lost in more ways than one). Lin Shaye (best known for some grossout comic roles like that in There's Something about Mary) seems normal till she starts revealing her secrets. The son is sex-obsessed, with a nasty sense of humour and does not get killed off early enough! The daughter is the nicest of them all, though she reveals she is pregnant - her boyfriend is the first to go.

So, now you know.

1. The background of the film, French filmmakers, in the US? Making an American horror film? The talent, use of conventions?

2. The American setting, winter, the drive, the night, the dark, the forest? The scenes in the interior of the car? Outside? The lady, the driverless car…? The musical score?

3. The title, a road movie, the family travelling for the Christmas reunion? The shortcut, the road signs, not leading to destinations, the family lost?

4. Frank Harrington, the presence of Ray Wise, going to see his mother-in-law, his wife, children, the son-in-law? The seeming American family? His decision to take the shortcut?

5. The characters of the family, each irritating the other, the wife and her manner, the son and his sex preoccupation, the daughter, quiet, the revelation that she was pregnant, the son-in-law bickering with the son?

6. The beginning of the mysterious factors, the lady, in white, the influence, the deaths?

7. The black car, the driver, not visible, carrying the passengers, survivors?

8. The growing panic? The wife, the family secrets, the revelations and their effect?

9. A final twist, dreams and nightmares, reality and imagination?

SCARY MOVIE

US, 2000, 85 minutes, Colour.
Anna Farris, Jon Abrahams, Regina Hall, Elizabeth Shannon, Marlon Wayans, Shawn Wayans, Keenan Ivory Wayans, Kurt Fuller, Carmen Electra, Dave Sheridan.
Directed by Keenan Ivory Wayans.

Keenan Ivory Wayans was involved in television and film satire before this film, working on television in In Living Colour and making parody films of particular genres. Here Keenan Ivory Wayans combines with two of his brothers, Marlon and Shawn, in writing, directing and performances.

While Scary Movie was not the first of the parody films it led to 4 sequels of its own and a whole range of parody films, often hit and miss productions, like Date Movie, Disaster Movie, Epic Movie… depending on audience reaction to the films that they were sending up, depending on senses of humour – and depending on audience capacity for responding to the coarse and the crass jokes. this film has its more than fair share of coarse jokes, especially bodily functions of all kinds and a preoccupation with the penis.

Basically, the writers have looked at the horror films current at the period. at the main focus is on the original Scream movie and I Saw What You Did Last Summer. The framework of the film is Scream, with Carmen Electra in the Drew Barrymore role for the initial killing, with Dave Sheridan, acting as an idiot, with the David Arquette police character. There is the inquisitive and ill-judging reporter, paralleling the character played by Courtney Cox. Then there is the sorority, with Anna Farris and Elizabeth Shannon, with Jon Abrahams playing a boyfriend.

A lot of the film depends on Anna Farris and her ability as a comedian – to be used in many subsequent films.

While the outline is that of Scream, there are parallel incidents with I Saw What You Did…, The killing of someone on the road (not actually dead, course), the sending of threatening notes, the menace to the girls.

And, the solution is that Scream with the two murderers combining to wreak havoc on their victims and, literally, unmasked.

JACK OF THE RED HEARTS

US, 2015, 102 minutes, Colour.
Anna Sophia Robb, Famke Janssen, Scott Cohen, Israel Broussard, Taylor Richardson.
Directed by Janet Grillo.

This is a film about autism, autism in a young child. It is geared towards the mainstream audience, a story that the audience can understand and respond to emotionally. If one Googles Wikipedia on films about autism, the list is quite long. Perhaps the most popular film in consciousness is Rain Man – and there is a line in the screenplay here which points out that the young girl, Glory, is no “rain man”. Another striking film about autism features Claire Danes as an autistic woman who achieved a great deal in her professional life, Temple Grandin.

Actually, the initial focus is on two runaways, two teenagers who have lost their mother and are in care, one of them already with a police record, a parole officer, and the threat of going to juvenile detention. The two girls set up a stall in the main street begging for money and encounter a father who puts up a poster looking for someone with experience with young girls. We have seen the mother and father at home and the efforts they are making to care for their 11-year-old daughter, Glory, strongly autistic, prone to being upset, not communicating well.

The older of the sisters, Jack (Anna Sophia Robb) takes the notice, waylays an expert young woman who is applying for the job, ingratiate herself into the household and, learning on the way, making some mistakes, getting deeper because of her lying, becomes Glory’s companion.

As may be anticipated, Jack, calling herself Donna because of the young woman whose papers she stole, begins to make an impact on Glory, sometimes hit-and-miss opportunities, but giving breathing space to the mother who is able to go back to work, something that gives her energy and exhilaration, arousing the attraction and then suspicion of Glory’s older brother.

The main emphasis on of the film is on the relationship between Jack and Glory, eliciting empathy from the audience, for the autistic young girl and the potential within her, for the sometimes irresponsible companion, brash and often self-centred, who, we know, also has great potential within her.

This gives the film some dramatic age, the audience wanting Jack to succeed with Glory but all the time aware that she is on very thin ice. It has to come to a head and does so dramatically, Jack wanting to get her sister out of foster care, prepared to take the consequences of her deception, but realising that she has communicated with the little girl and wants to assist in an interview where Glory could go for better education prospects.

Taylor Richardson is completely persuasive as Glory, the film indicating through its blurry photography and a focus on into playing shining lights something of how Glory perceives reality. Famke Janssen has a strong role as the mother. The screenplay of his quite some commentary on different approaches to working with autistic children, even showing some sequences from the 1962 film about Helen Keller, The Miracle Worker with Annie Sullivan helping Helen to understand water. A strong point is made about Glory, on a roof, on a tree branch, on heights, better able to comprehend and communicate.

As the film veers towards expected endings, it stops just in time from indulging sentimentality, leaving the audience to think about the future for all the characters concerned.


1. The title? Glory and her card, Jack of hearts? And the reference to Jack herself?

2. A film about autism, audience response to the issue, the dramatisation, the children and their experience of autism, the effect on others? The film as an awareness experience? For the children, for parents, for siblings, for carers?

3. The American town, homes, schools, outings, theme park, family world? Musical score?

4. The contrast between Jack and Coke, the escape, begging on the street, the police taking them in, Jack and her parole?

5. The scenes with the family, Glory at 11 years old, the tension between husband and wife, husband and his work, the wife and her need to work? The need for a carer?

6. The father, his poster, Jack going to the interview, taking the other girl’s place, papers and identity, pretence, her motivation, her lies?

7. The details of her work with Glory, coping, the effect, learning, guesses, bluffing her way through? The response of the parents? Of Glory’s brother and his friend? Wariness, attraction, the effect?

8. The character of the parents, dealing with the situation, the improved situation, at work? The mother, Jack and her phone calls – even with details of how to cook and prepare meals?

9. Glory, her age, the onset of the autism, the manifestations, speech, behaviour? The film suggesting she saw things differently, the visuals of her eye point of view, blur and colours? The impact the doctors, social workers? The plan for her to go to advanced learning? Getting ready for the interview?

10. Jack, the effect, the bond with Glory, initially slumming it, gradually becoming involved, losing Glory, her being up the tree, the realisation of the effect of heights and heightened awareness?

11. Jack, her sister, going into foster care, Jack wanting to get her out, the sister feeling at home?

12. Jack, her friends, support, lifestyle, the past?

13. Glory’s brother, becoming suspicious, investigating the documents, the forging of signatures, the financial implications? The
revelation of the truth?

14. The effect on the parents, the parole officer, Jack being taken?

15. Glory, going to the interview? Jack and her special plea? The bond with Glory? Going to the interview, her intervening, the parents watching, the relationship, the issue of the heights, illustrating Glory’s potential?

16. Jack, the effect of this on her life? Her age, taking responsibility? The final glimpse of her driving – and audience speculation on her future?